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Reviews Sweet Charity Directed by Gabe Scott Reviewed by Cristina Martin Entire contents are copyright © 2009 Cristina Martin. All rights reserved.
Kentuckiana's got talent, there's no doubt about it. And what better venue to showcase some of that talent than the RiverStage in Jeffersonville, IN, with its pleasant outdoor amphitheater overlooking the Ohio River? Within view of the water and the Louisville skyline, the public can take in (for free!) an impressive production of the Broadway musical Sweet Charity there currently, thanks to the City of Jeffersonville and Spirit Over the Water Productions. Based on a Federico Fellini screenplay, Sweet Charity tells the story of Charity Hope Valentine, a dance hall hostess with big dreams of true love. Her romantic vagaries unfold in two acts set against the backdrop of her friendships at the Fandango, the New York City club where she's employed. The show first opened on Broadway in 1966, directed and choreographed by Bob Fosse, and was followed by a film version in 1969. It even includes a brief romp, somewhat incongruous in light of the rest of the show though certainly colorful, into the hippie subculture of the 1960's. Like Voltaire's Candide, no matter how much Charity is buffeted by life, she is hope and optimistic idealism writ large. Such a person doesn't actually exist any more than the episodes of our lives are announced by signs with big glittering titles as Charity's is, but she forces us to confront our own cynicism. Her signature posture, looking back over her shoulder with her hip cocked, expresses her particular mixture of sassiness and vulnerability. She's pure, in a way, as her eventual love interest Oscar Lindquist (Cory Vaughn) puts it – even if she does practice a questionable trade. It just goes to show that people are more than what they do for a living and that outlook is everything. The cast is strong without exception. At intermission, a gentleman seated near me couldn't stop extolling the professional polish of the performers, and I'm inclined to agree. In the show's title role, Alicia Corcoran-Scott is a wonder. Singing, dancing and acting equally well, she is excellent as Charity and a driving force behind the entire production. Sometimes reminiscent of Sandra Bullock (maybe it’s her inflection? the way she stands?), she delivers an outstanding performance. As my loquacious neighbor proclaimed, "She's got it all." Charity's friends at the Fandango are Nickie (Tristan Mapp) and Helene (Candace Kresse), along with Carmen (Ashley Delane Burger), Suzanne (Tamika Skaggs), Frenchy (Kristen Sherman), Betsy (Brittany Hoagland) and Rosie (Abby Richey). John Trueblood has a good turn as their boss, Herman, who is constantly after them to stop the chitchat and get to work. They make a talented ensemble, with Mapp as an especially gifted actor and vocalist. The majority of the "Girls" don’t seem to be true altos, however, and the low and sultry musical number "Big Spender" tests their vocal range. All of the dancing is such fun to watch thanks to Alicia Corcoran-Scott's brilliant choreography and the cast's virtually flawless execution. When she's leading the dancers, the phenomenal Eliza Donahue slinks and shimmers like quicksilver. Clearly, many hours of rehearsal have gone into assuring that everyone on stage moves like clockwork and that transitions are as smooth as can be. After breaking up with her jerk of a boyfriend, Charlie (who isn't listed among the cast of characters), Charity literally runs into the celebrated Italian movie star Vittorio Vidal (Gabe Scott). Vittorio is having difficulties with his girlfriend, Ursula March (in a priceless rendition by Elizabeth Painter). Scott's Vittorio starts off very animated but becomes sort of wooden, though still entertaining. His accent, too, is a bit off, tending increasingly toward Spanish rather than Italian. Some of the funniest scenes of the show occur when Charity and Vittorio, and later Ursula, end up in Vittorio's bedroom. Charity's association with the star is short-lived, however. On she goes, this time to the Y, where, as the "fickle finger of fate" (one of Charity's favorite expressions) would have it, she meets the mild-mannered Oscar Lindquist (Cory Vaughn). Mild-mannered, that is, until he suffers an attack of claustrophobia in a stuck elevator. Vaughn brings a tremendous shot of energy and humor to the end of a long first act with an extraordinary performance. Never before have I seen anyone work himself into such a tizzy in such a small space! Act II seemed much more tentative on opening night than Act I, and I soon learned a likely reason why: just a couple of songs into it, the show's final dress rehearsal was rained out. A number of audio problems arose in the second act, too. Speakers crackled, actors' mics didn't sound as though they were doing their job, and in one embarrassing moment (which gave the audience as big a chuckle as any of the scripted lines), an actor's microphone wasn’t muted when he exited the stage and we heard his forceful opinion regarding some distracting background noise. Predictably, Oscar and Charity soon become an item. The tone gets refreshingly groovy when they encounter Daddy Brubeck (Alonzo Richmond), head of the Rhythm of Life Church, along with his two assistants (Tyler Strickland and Denzel Edmonson) and the congregation of flower children. The Ensemble, consisting of Lakeisha Bailey, Michael Dorsey, Alex Jones, Shaina Nolley, Cierra Richmond and Demetris Richmond, does an excellent job here as elsewhere. The cast’s energy seemed to be waning after the rousing first number in Act II, however, and it's no surprise; I'm always in awe of the almost super-human stamina musical theatre requires. Everyone rallied, however, and "I Love to Cry at Weddings," performed by the whole company, was particularly stirring. The costumes strike just the right note throughout, and the uncomplicated set, designed by Nathan Shewell assisted by Katie Molck, is as fresh and bright as Charity herself. The signs that introduce the scenes are very artistically done, too, though the spotlight had a bit of trouble staying exactly on the person carrying them across the stage. Speaking of lighting, cords out in the audience area leading to lighting equipment (and also to sound equipment) really must be secured so as to eliminate tripping hazards. On opening night, there was some confusion as to when the show began; certain sources said 8:00, others 8:30, and at least one webpage held that it was 6:30. People were gathering on the terraced lawn as early as 7:30, an hour before the show actually began. Hopefully, all the misinformation will be eliminated before upcoming performances. As impressed as I was with the overall quality of the production, I was equally appalled at the scant attention to detail evident in the program. It’s one thing when a director tells his cast to "Brake [sic] a leg" (maybe this is an inside joke of some sort??), but misspelling someone's name is a different story altogether. In one of the first scenes of the show, Charity herself reproaches another character with, "I wouldn't snicker at other people's names, Monty!" Not taking the time to make sure a name is spelled correctly each time it appears is equally disrespectful. Actors Brittany Hoagland, Candace Kresse and Tyler Strickland deserve better, as does Ennio Flaiano (one of the co-authors of the screenplay on which the musical is based), whose name is rendered "Emilio Plaiano." I could go on, but the point is simple: even in the age of Spell Check, proofread, proofread, and proofread again! If you don't have the eye or the patience for it, enlist the help of someone who does. An accomplished director with whom I have worked makes a habit of having each member of the cast and crew proof a show's program before it goes to press, paying special attention to his or her own name and biographical information. As it happens, this very same director's name is mentioned in one of the Sweet Charity bios – spelled wrong. The show's ending might surprise you, or it might not, but Charity's indomitable spirit lives on whatever the case. Take up your lawn chair and your bug spray and head for the river for an entertaining evening. How fortunate we are to be able to enjoy such a sweet summer treat!
Sweet Charity
August 1-2, 8-9 & 15, 2009 at 8:30 p.m. Posted August 5, 2009
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