Sweet Charity (Free-Rain Theatre Company) - Review
- OSCAR:"May I see you tomorrow? Maybe we could go to a movie."
- CHARITY:"Okay, but one with a happy ending. I'm nuts about happy endings."
Charity Hope Valentine (Amy Orman) and Oscar Lindquist (Joshua Kirk) in Sweet Charity. Photo: Photox |
Here was a man, with some dreams (irrelevant), and a plan to grab a couple buddies, and go see a Friday night showing of Free-Rain Theatre Company's latest offering, Sweet Charity. And it is very tempting to continue paraphrasing the titular tune of the show, but these reviews are hard enough to read as is. A show with many years up its sleeve, this is one that has eluded me successfully in the musical theatre canon for a while now, yet it is a title that rings a familiar bell. I had never seen it, of that I was sure. I knew that the title was the name of a character, and I could hum a couple of its tunes that I'd heard snippets of here and there, but otherwise, nothin'! It's not often I get to experience a classic like this one almost completely blind, so go into it blind I did, if only to test how well this production would leave that first impression. Needless to say, I have to echo the sentiments of many who have seen the show; sweet, sweet Sweet Charity is the bee's knees.
Never before have I seen a show introduce itself with such a distinctive personality; from minute one, you know this show means business. Joel Horwood's direction leaves no stone unturned on-stage; despite the air of simplicity, the show is deceptively complex in its mechanics. The viewing experience is akin to watching a well-oiled machine carry out its function without a hitch. The blocking coordination of this show was probably my favourite part of the viewing experience, as the audience is beholden to some of the most flawless transitions; the show practically glides into itself as we move between the various scenes of the show. Horwood also casts my favourite spell in their attention to cast; everyone, at any given moment, is doing something that contributes to the feel of scenes. It's a privilege to see.
Lurking on stage behind the set is Callum Tolhurst-Close and his splendiferous band, as they pump out tune after tune with panache and style. There is a distinct identity to the music of Sweet Charity that is absolutely mastered from the gate; the brilliant playing of the overture establishes a tremendous standard for the rest of the show's tunes to live up to. Yet, as the show continued, that bar continued to rise higher and higher, as the wonderful voices of its cast shone through; Tolhurst-Close has tuned his singers to perfection, with not a note left flat nor a word left mumbled.
Among these tunes are some lengthy sequences devoid of both singing or dialogue, within which, the fantastic choreography of James Tolhurst-Close takes the stage; his choreography is energetic and wild, yet executed with discipline, with everything down to the most minor of movements being carefully considered. The cast moves as a unit, mirroring every move their others make perfectly. This choreography collaborates with Horwood's blocking, as when the cast move, so too with them does the set, resulting in some truly breathtaking moments in which the show moves on an transcendent level; it is absurd just how fantastic this show's movement is.
Lurking on stage behind the set is Callum Tolhurst-Close and his splendiferous band, as they pump out tune after tune with panache and style. There is a distinct identity to the music of Sweet Charity that is absolutely mastered from the gate; the brilliant playing of the overture establishes a tremendous standard for the rest of the show's tunes to live up to. Yet, as the show continued, that bar continued to rise higher and higher, as the wonderful voices of its cast shone through; Tolhurst-Close has tuned his singers to perfection, with not a note left flat nor a word left mumbled.
Among these tunes are some lengthy sequences devoid of both singing or dialogue, within which, the fantastic choreography of James Tolhurst-Close takes the stage; his choreography is energetic and wild, yet executed with discipline, with everything down to the most minor of movements being carefully considered. The cast moves as a unit, mirroring every move their others make perfectly. This choreography collaborates with Horwood's blocking, as when the cast move, so too with them does the set, resulting in some truly breathtaking moments in which the show moves on an transcendent level; it is absurd just how fantastic this show's movement is.
Horwood and their team have assembled a cast that knows the stage like the back of their hand, and their ranks are stacked with some absolute standouts that are bound to make your heads spin. In the central role of Charity Hope Valentine, Amy Orman is a tour-de-force. Orman brings a wealth of experience from her performing all over to her portrayal, executing every note with perfection and every movement with pizzazz. Orman also offers a role that is intensely likeable and sincerely funny; the character of Charity is a fundamental element in this show succeeding, and Orman ensures that the audience has a Charity it is rooting for every step of the way. She is well supported by her fellow Fandango dancers, especially the astute Vanessa Valois as Nickie and Kristy Griffin as Helene; both offer distinct characterisations that bounce remarkably off of both each other and Orman, as seen in numbers like "There's Gotta Be Something Better Than This", which is in of itself a microcosm of the delightful chemistry the three share in their interactions.
Joshua Kirk offers a fabulous portrayal of the neurotic Oscar Lindquist. His performance leading up to and during "I'm the Bravest Individual" is the comedic highlight of the show, with Kirk's intensely focused characterisation stealing laughs left right and centre, while also remaining capable of stealing both Charity and the audience's hearts in a beautiful rendition of "Sweet Charity" further along. Elsewhere, Eamon McCaughan's Vittorio is a riot in how his character interacts with Orman's, carrying himself with a suave gentleness that balances well against Charity’s hilarious antics, while also bringing the show to an absolute halt in "Too Many Tomorrows". His chemistry with Stephanie Waldron's melodramatically wonderful Ursula is well showcased, even if brief; the scenes shared by the two are an absolute hoot.
Elsewhere, Horwood and co. have made some changes to its casting by gender bending some of the more prominent male characters. This is always a welcome change to be made, and thus provides Alissa Pearson as Herman and Katie Lis as Daddy Brubeck opportunities to sneak in some truly wonderful performances respectively, with "The Rhythm of Life" and "I Love to Cry at Weddings" being fun additions to the show's remarkably-led group numbers. There are numerous moments where the ensemble are featured, allowing everyone to shine at one point or another; be it James Morgan's preening Charlie, Rachel Thornton's sassy Information Booth Girl, Darcy Kinsella's overly dance-expressive Marvin, Ben Fullerton's prim-and-proper Manfred, or Charlotte Jackson's glorious leading Rich Man's Frug dancer, everyone in this show is given an opportunity to shine, and shine, each and every single one of them do. To put it simply; this show is perfectly cast, from top to bottom.
Chris Zuber's ingenious set is simplistic by design, yet extraordinary in its execution; the cast are given frames that are flexible in their suitability to any scene the script throws at them. The striking silhouettes of the large backdrops remain dynamic in their wonderful utilisation of LED lighting, which cooperates impeccably with Zac Harvey's phenomenal lighting design. Additionally, the set's simplicity is actively complemented by Fiona Leach's impeccable costuming; each member of the cast is given their own personal wardrobe of varied fits and looks that make a cast of 20 look like a cast of 100 in any given scene. And Telia Jansen's sound design is superbly complementary to the show's mood, and impeccably timed in cooperation with blocking and lighting.
Free-Rain's Sweet Charity is an utter triumph in every sense. Directed with pin-point precision, it is an assembly of Canberra's finest under a vision so personalised, it's going to leave its mark on my impressions of this show for a good long while. If you've never seen the show before, or are eager to see a fresh production done right, there's no reason to be missing this one. There's not much more to say; it's worth the price of admission. Go see it!
Joshua Kirk offers a fabulous portrayal of the neurotic Oscar Lindquist. His performance leading up to and during "I'm the Bravest Individual" is the comedic highlight of the show, with Kirk's intensely focused characterisation stealing laughs left right and centre, while also remaining capable of stealing both Charity and the audience's hearts in a beautiful rendition of "Sweet Charity" further along. Elsewhere, Eamon McCaughan's Vittorio is a riot in how his character interacts with Orman's, carrying himself with a suave gentleness that balances well against Charity’s hilarious antics, while also bringing the show to an absolute halt in "Too Many Tomorrows". His chemistry with Stephanie Waldron's melodramatically wonderful Ursula is well showcased, even if brief; the scenes shared by the two are an absolute hoot.
Elsewhere, Horwood and co. have made some changes to its casting by gender bending some of the more prominent male characters. This is always a welcome change to be made, and thus provides Alissa Pearson as Herman and Katie Lis as Daddy Brubeck opportunities to sneak in some truly wonderful performances respectively, with "The Rhythm of Life" and "I Love to Cry at Weddings" being fun additions to the show's remarkably-led group numbers. There are numerous moments where the ensemble are featured, allowing everyone to shine at one point or another; be it James Morgan's preening Charlie, Rachel Thornton's sassy Information Booth Girl, Darcy Kinsella's overly dance-expressive Marvin, Ben Fullerton's prim-and-proper Manfred, or Charlotte Jackson's glorious leading Rich Man's Frug dancer, everyone in this show is given an opportunity to shine, and shine, each and every single one of them do. To put it simply; this show is perfectly cast, from top to bottom.
Chris Zuber's ingenious set is simplistic by design, yet extraordinary in its execution; the cast are given frames that are flexible in their suitability to any scene the script throws at them. The striking silhouettes of the large backdrops remain dynamic in their wonderful utilisation of LED lighting, which cooperates impeccably with Zac Harvey's phenomenal lighting design. Additionally, the set's simplicity is actively complemented by Fiona Leach's impeccable costuming; each member of the cast is given their own personal wardrobe of varied fits and looks that make a cast of 20 look like a cast of 100 in any given scene. And Telia Jansen's sound design is superbly complementary to the show's mood, and impeccably timed in cooperation with blocking and lighting.
Free-Rain's Sweet Charity is an utter triumph in every sense. Directed with pin-point precision, it is an assembly of Canberra's finest under a vision so personalised, it's going to leave its mark on my impressions of this show for a good long while. If you've never seen the show before, or are eager to see a fresh production done right, there's no reason to be missing this one. There's not much more to say; it's worth the price of admission. Go see it!
Tickets: https://theq.net.au/whats-on/sweet-charity/
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