Sweet Charity

Hayes Theatre Co, February 13

Verity Hunt-Ballard as Charity. Photo: supplied

Verity Hunt-Ballard as Charity. Photo: supplied

Walking into the tiny theatre at Potts Point you are thrust straight into the world of Sweet Charity. A red neon sign reads “Girls, Girls, Girls”, the band is vamping, and the sexily clad ladies at the seedy Fandango Ballroom where Charity works are already on stage, enticing men from the audience to dance with them.

It’s the perfect start to a fabulous production of the 1966 musical (music by Cy Coleman, lyrics by Dorothy Fields, book by Neil Simon), brilliantly re-imagined by director Dean Bryant for the times and the intimate venue.

Produced by Luckiest Productions and Neil Gooding Productions, Sweet Charity is the first production for the new Hayes Theatre Co, which is turning the venue (formerly known as the Darlinghurst Theatre) into a home for small-scale musicals and cabaret.

Sweet Charity tells the story of a dance hall hostess with a heart of gold looking for love in all the wrong places. With its episodic structure, it’s not the greatest musical ever written, merely following Charity as she is dumped by a louse called Charlie, encounters suave Italian movie star Vittorio Vidal, and becomes engaged to neurotic accountant Oscar. But it’s joyous, funny and touching with some great songs including “Big Spender”, “If My Friends Could See Me Now” and “The Rhythm of Life”.

Bryant has given the show a dirtier, grittier edge that makes it feel more current. It’s a small theatre for a musical but Bryant stages it ingeniously on Owen Phillips’s simple, grungy set (a few costume racks and some chairs), making inspired use of a couple of two-way mirrors. Ross Graham’s moody lighting is also impressive.

A small, sharp band, led by musical director Andrew Worboys on keyboards, sits at the back of the stage and there’s a cast of 12 but the production rarely feels squashed.

Occasionally you sense the dance routines longing to break out as in Bob Fosse’s famous, original choreography. However, Andrew Hallsworth has done a fantastic job of choreographing distinctive, tight little movements and routines, while his twist on the Rich Man’s Frug, with surrealistic costumes by Academy Award-winner Tim Chappel, works a treat.

The terrific new musical arrangements by Worboys (who also plays Fandango owner Herman) and Chappel’s witty, sexy costumes (with wigs by Ben Moir) heighten the edgy vibe perfectly.

In her little, red, lacy dress, Verity Hunt-Ballard is gorgeous as Charity, capturing her kookiness, sweetness, sunny optimism and vulnerability. In a production this gritty, Charity might perhaps have been a little more “shop soiled” but it’s a radiant, endearing performance; sensationally sung, danced and acted, with knockout comic timing.

Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: supplied

Verity Hunt-Ballard and Martin Crewes as Oscar. Photo: supplied

Martin Crewes plays Charlie, Vittorio and Oscar and delineates them with wonderfully detailed performances, making us care about the dorky Oscar as well as Charity.

Debora Krizak is also a standout, doubling as Nickie, Charity’s hard-bitten friend at the Fandango Ballroom, and Ursula, Vittorio’s glamorous, jealous girlfriend (here with an English accent). My date for the evening didn’t realise they were the same performer. But the entire ensemble is on song.

Having begun with the stage buzzing, the production ends in poignant fashion with Charity alone on an empty stage: a powerful conclusion to a fresh, thrilling production.

Sweet Charity announces the arrival of an exciting new musical theatre initiative in Sydney in emphatic fashion. It has set the benchmark high. Don’t miss it.

Sweet Charity plays at the Hayes Theatre Co, 19 Greenknowe Avenue, Potts Point until March 9. Bookings: www.hayestheatre.com.au

A slightly edited version of this review ran in the Sunday Telegraph on February 16

 

 

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Independent Music Theatre: creating a new home for small-scale musicals and cabaret in Sydney

The Independent Music Theatre team. Left to right: Lisa Campbell, David Campbell, Neil Gooding, Michael Huxley, Richard Carroll, Simone Parrott, Michelle Guthrie, Jay James-Moody and Jessica Burns

The Independent Music Theatre team. Left to right: Lisa Campbell, David Campbell, Neil Gooding, Michael Huxley, Richard Carroll, Simone Parrott, Michelle Guthrie, Jay James-Moody and Jessica Burns

Yesterday’s announcement that a new, not-for-profit consortium of producers and organisations called Independent Music Theatre (IMT) is to run the Reginald Murphy Hall in Potts Point as a home for small-scale music theatre and cabaret has my heart singing.

It’s exciting news given the potential for the company to become an important and much-needed addition to Sydney’s musical theatre scene.

Currently known as the Darlinghurst Theatre, the 111-seat venue was home to the Darlinghurst Theatre Company from 1999 until this March when the company vacated it to move into the new Eternity Playhouse in East Sydney, opening in November.

Having won the tender from the City of Sydney Council to become the next resident company, IMT will announce a new name for the venue in the coming weeks.

Describing themselves as a “collaborative partnership”, IMT comprises a team of organisations who already have runs on the board producing small-scale musicals and cabaret: Luckiest Productions (David Campbell, Lisa Campbell and Richard Carroll), Neglected Musicals (Michelle Guthrie), Squabbalogic (Jay James-Moody and Jessica Burns, who are soon to stage Bloody Bloody Andrew Jackson at The Factory in Marrickville), Neil Gooding Productions (who produced the Australian musical The Hatpin by Peter Rutherford and James Millar) and independent producers Michael Huxley and Simone Parrott.

Commercial musicals currently dominate the music theatre scene in Sydney – and there aren’t that many of those each year given the relatively limited audience compared to London or New York.

It’s not that Sydney doesn’t see small-scale, independent musicals but the productions are sporadic and scattered around various venues. Presenting regular shows in one venue will give the work a very useful focus.

Having their own home, where they can support each other, will also give the companies involved a better chance to survive and thrive.

Initially IMT’s audience is likely to be industry-based along with serious musical theatre fans but if the work is good a broader audience will hopefully follow pretty quickly. London’s Menier Chocolate Factory is an obvious model, whose success will doubtless be encouraging for the IMT team.

The chance to see musicals from overseas that would otherwise be unlikely to make it to our shores – whether that be little seen classics or more recent, innovative work – is so important for the development of the artform, as well as for the people who want to make it and perform in it.

Developing new Australian musicals – that most challenging of theatrical beasts – is  something that IMT will hopefully be well placed to undertake in the fullness of time.

It is a small venue but the IMT team are specialists in the field of small-scale music theatre and cabaret and should have the expertise and nous to choose the right shows and make them work in the intimate setting.

Neglected Musicals is already associated with the venue having presented terrific rehearsed readings of nine musicals there including No Way to Treat a Lady, On the Twentieth Century and Variations by Australia’s Terry Clarke and the late Nick Enright.

Stephen Colyer’s Gaiety Theatre (not associated with IMT) has also had success staging musicals there, including Hello Again and Kiss of the Spiderwoman.

The first IMT production is likely to be presented at the start of next year. I can’t wait.

You can find IMT at www.independentmusictheatre.com or follow them on Facebook or Twitter @IMTsydney