L-R: Samantha Leigh Dodemaide, Kate Cole, Debora Krizak, Verity Hunt-Ballard, Annie Aitkin and Rowena Vilar in Sweet Charity. Photo: Jeff Busby
If her friends could see her now indeed! This is technically the same Sweet Charity but as we’ve never seen her before. Dean Bryant’s smashing production of the classic 1960’s musical is a complete reinvention and a theatrical revelation.
This current tour had its genesis as the debut production for Sydney’s Hayes Theatre Company last year. The incredible public and critical reception that followed swiftly lead to the limited run being completely sold out within a matter of days and the buzz within the theatre community was palpable and unprecedented. Sweet Charity swept the Helpmann and Sydney Theatre Awards, winning multiple trophies including for Direction, Choreography and Female Actor. Now the rest of the country has been blessed by the theatre gods (and some savvy producers) and finally has the opportunity to see this phenomenal show. Trust me; the hype is well and truly justified.
Australia is no stranger to the trials and tribulations of down-on-her-luck dance hall worker Charity Hope Valentine (Verity Hunt-Ballard). Nancy Hayes originated the role in 1967, Kelly Abbey toured the show in the late 90’s and most recently The Production Company presented a short season in 2007 starring Sharon Millerchip.
Now the torch has been passed to Verity Hunt-Ballard and I’m delighted to say that she well and truly sets the stage on fire. Hunt-Ballard is no stranger to demanding roles, having previously played the titular nanny in Disney’s Mary Poppins, and this incarnation of Charity is a mammoth task for any performer. She never leaves the stage throughout the duration of the show, she’s constantly in motion; dancing, being thrown around and has even been incorporated into every ensemble number in addition to thrillingly performing the character’s numerous solo numbers and duets. It must be exhausting but it never shows for one second. Hunt-Ballard attacks the role with an infectious mix of sweet naiveté, whiplash comedic timing and sensitive vulnerability. Watching her Charity’s rocky romantic journey and ultimate humiliation is equal parts hilarious and devastating; this reviewer will not soon forget the image of her desperately collapsing to her knees in front of Oscar (Martin Crewes) anytime soon. Hunt-Ballard is simply mesmerizing and her performance is truly one for the ages; it’s that good.
Hunt-Ballard is backed up by an equally superb supporting cast. Martin Crewes plays three of Charity’s suitors; Charlie, Vittorio and Oscar. His Vittorio exudes smooth old school Hollywood charm and his portrayal of Oscar is a riotous combination of frenzied George Costanza style slapstick coupled with an adorable bumbling sweetness. Crewes’ commanding voice also switches expertly between roles, from operatic crooning in ‘Too Many Tomorrows’ to nasal attack in the hilariously performed title song.
Debora Krizak also has dual-role duty as Charity’s dance hall BFF Nickie and Vittorio’s young starlet girlfriend Ursula. Nickie is a chain-smoking and wisecracking delight whilst her Ursula is a perfectly pitched immature and over the top 60’s British ingénue; complete with an extensive blonde hair switch and Warhol Campbell’s soup can mini-dress (costumes by Tim Chappel and wigs by Ben Moir). Krizak’s transformation between roles is literally unbelievable; this reviewer had to buy a program just to make sure.
Sweet Charity is also blessed with a talented and sexy ensemble cast. Each performer has created a fully realized character up on that stage. The numerous group numbers are electrifying; the ‘Rich Man’s Frug’ dance sequence in act one is a highly stylized combination of Fellinni and Kubrick on acid whilst the act two opener ‘Rhythm of Life’ takes the form of a revival meeting ending in an orgy. Thanks to the energetic ensemble and Andrew Hallsworth’s dynamic and inventive choreography these sequences are deliriously fun.
Bryant has managed to do something magical with this Sweet Charity; he’s dusted off the cobwebs of a well-known piece of music theatre and, without resorting to gimmicks, star casting or historical updates, has stripped back the story to its core and laid Charity’s soul bare for all to see.
From the moment the show begins the audience never leaves the seedy world of the Fandango Ballroom. Upon entering the theatre the girls are already on stage with the band pulling patrons from the crowd for a bit of bump and grind. Throughout the show cast members can constantly be seen changing costume and watching the action from the sidelines. Large hot pink neon ‘girls’ signs and a strip of light across the front of the stage dominate Owen Phillips’ minimal set. This encloses the performance space and indicates that maybe our heroine will never escape her gritty career. In keeping with Bryant’s bold and exposed vision the rest of the set is made up of simple chairs, clothing racks and two versatile mirrored screens on wheels. This highly physical production flows quickly and smoothly; settings are created out of almost nothing before our eyes and swiftly melt away in an almost ethereal manner.
Mention must also be made of the incredible band. Lead by Andrew Worboys, who also has a delightful cameo during ‘I Love To Cry At Weddings,’ these six musicians rock out to Cy Coleman’s iconic score with gusto. This is unlike any Sweet Charity you’ve heard before. It’s loud and grungy, full of wailing guitars, pounding drumbeats and blaring synths. No new orchestrations are listed in the credits but this is just one example of how reinvigorated this production is. Can we please have a cast recording?
It’s all too easy to become disenchanted about the musicals being professionally staged in Australia these days. There’s only so many times one can sit through another production Wicked or The King and I before you start to question the vitality of our music theatre landscape. In the last few days another production of that old dusty warhorse The Sound of Music was announced – kill me now! This production of Sweet Charity is the antidote. Only time will tell if it is the cure. This reviewer would like to think so and will be booking another appointment with the girls of the Fandango Ballroom before they leave town criminally early on March 7. You should do the same. Actually, scrap that, you MUST do the same. Sweet Charity is one the most richly satisfying theatrical experiences you will ever have.
Rating: 5 stars out of 5
Sweet Charity
Direct by Dean Bryant
Book by Neil Simon
Music by Cy Coleman
Lyrics by Dorothy Fields
The Playhouse, Arts Centre Melbourne
25 February – 7 March
