Sweet Charity
South Coast Choral and Arts Society
TICKETS: https://www.trybooking.com/au/event/1653860
South Coast Choral and Arts Society presents Sweet
Charity. Originally conceived for the stage by Bob Fosse, Sweet Charity
has a book by Neil Simon and music and lyrics by Cy Coleman and Dorothy Fields,
respectively. I'll start by stating that I don't like the script… I find it boring. But I look past the aspects that can’t be changed and focus on what has
been created.
The premise is simple: hapless but unflappable Charity Hope
Valentine desperately seeks love in 1960s New York City. In this exuberant,
groovy and hilarious musical comedy, Charity tries again and again to find her
dream and make something of herself. This is what the programme says, and its
graphic and logo reflect that description beautifully — then you enter the
auditorium to find the set predominantly black, a stark contrast to the
programme’s vibrant artwork and perceived expectations.
Natalie Stevenson returns to helm this project, with husband
Chris Stevenson as Assistant Director and daughter Aria Stevenson as Vocal
Director, alongside Choreographer Ally Miller and Music Director Katie
Marshall. Together, the team draws on combined experience to bring another of
Fosse’s worlds to life.
Aria’s vocal direction is tight, producing consistently technical
performances from the leads and the ensemble. Notes are secure, and harmonies
are well judged. Marshall’s orchestra sounds great, although it occasionally
overpowers the soloists — a consequence of the Victor Harbor Town Hall layout,
with the pit positioned in front of the stage. The score is also used
effectively to cover some lengthy scene changes, keeping the audience engaged
as Marshall’s hand signals the band to repeat.
Similarly, Miller’s choreography is sharp, capturing many of
the Fosse characteristics audiences expect. A few of the larger ensemble
numbers lose full synchronisation, though these moments are unlikely to
distract most audience members. The choreographic highlight is “The Rich Man’s
Frug”, led superbly by Leila Britton.
Natalie and Chris make thoughtful use of the stage for a
cast of 24, creating an interchangeable upstage space that allows key set
pieces to be placed and removed as needed. They also devise what I’ll call a
multi-purpose “box” onstage, serving as a wardrobe, an elevator, and the box
office at The Fandango. This clever design reduces the need to store set pieces
offstage and allows changes to occur during active scenes without being
noticed.
Deeon Toogood brings a plainness to Charity Hope Valentine,
capturing the character’s optimism. There is warmth in her performance, making
Charity’s repeated disappointments feel not only comical, but heartfelt. The
role demands a great deal vocally, and Toogood carries it well, particularly in
Charity’s more reflective moments. At times, a little more variation in
vulnerability could deepen the character’s journey. In the best possible way,
Toogood’s characterisation reminds me of a Peanuts-esque character. Charity in
the wardrobe was a highlight!
Josh Barkley gives Oscar Lindquist an awkward sincerity that
suits the character well. Barkley finds moments of genuine tenderness beneath
Oscar’s reserve, and his chemistry with Toogood develops nicely, making me gasp
disappointedly for Charity as we return to the lake in the final scene. There
are opportunities to push Oscar’s internal conflict further in the later
scenes, but Barkley delivers a sympathetic and well-judged performance.
Anjali Nelson and Jemmah Simms make a strong double act as
Nickie and Helene, bringing attitude, humour and wisdom to the Fandango
Ballroom. Their performances give Charity’s friendships personality, and they
handle the show’s humour with confidence. They hold their own in the ensemble
numbers while creating a sense of long-standing friendship with Charity.
Together, they provide much of the show’s sharp, streetwise energy.
El Flanagan-Sjoberg brings welcome swagger and comic flair
to Daddy Brubeck, leader of the Rhythm of Life church. Their performance has a
suitably groovy, larger-than-life quality, and Flanagan-Sjoberg relishes the
character’s theatricality. “The Rhythm of Life” benefits from this confident,
charismatic presence, giving the number a real focal point. It is a fun,
assured musical number to bring the audience back after interval.
Harrison Gollege cuts a glamorous figure as film star
Vittorio Vidal, bringing the self-assurance the role requires. He oozes charm
and movie-star confidence, making it believable that Charity would be swept up
in the romance. Gollege handles the character’s more self-interested moments
without turning him into a simple villain, giving the role the necessary style
and presence.
Elise Brown delivers a lively performance as Ursula,
Vittorio’s jealous, theatrical partner. Brown leans into the flair for drama
with good comic instincts, and her stage presence creates a clear contrast with
Charity’s gentler nature. Brown provides a colourful and confident comic
performance.
Brian Plane gives Herman a gruff exterior while hinting at a
softer heart. He captures Herman’s irritation and dry humour while holding the
stage well in the Fandango scenes. Meanwhile, Payton Stevenson brings a fresh,
bright energy to Rosie, the newest dancer at the Fandango Ballroom. They give
Rosie an appealing mix of eagerness and quick wit, making her feel like a
welcome addition to the group.
This show would sink without the ensemble, who bring the
Fandango Ballroom to life. Whether reacting to Charity’s latest misadventure,
trading knowing looks across the stage, or throwing themselves into the show’s
big dance numbers, the ensemble provides strong support for the principal cast.
Sarah Tymko’s costume design, developed with Natalie and
Chris Stevenson, brings a vibrant 1960s flair to the production. Bold colours
and varied styling distinguish the Fandango dancers, Charity’s different
worlds, and the glamorous Vittorio and Ursula, supporting both character and
period while keeping the large cast visually cohesive.
Sweet Charity is a lively production with strong
vocals and sharp choreography. If you are looking for an evening of 1960s
escapism, big dance numbers and a heroine worth rooting for, be a Big Spender,
and make your way to Victor Harbor Town Hall and see Sweet Charity for
yourself.
- Andrew Broadbent
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