"Sweet Charity"

SWEET CHARITY, book by Neil Simon (from Federico Fellini's "Night of Cabiria"); music, Cy Coleman; lyrics, Dorothy Fields.

Deborah Shaw, director and choreographer for the City College of SF Theatre Arts and Music Departments, pulls off another winner this Spring with the rousing musical comedy, “Sweet Charity” at the Diego Rivera Theatre. Set in 1966, it is dated  and sexist in some areas (men wear suits and ties; woman, dresses and white gloves; they are never seen in pants, and virginity is a must until marriage); still, it sends a feminist message of strength and independence through the title character, Charity.   Charity is played by the brilliantly talented, engaging Jenny Veilleux – a redhead with alabaster skin.  She brings off the opening number "You Should See Yourself" like she was born to the craft.  Ms Veilleux makes you think of Carol Burnett, Shirley MacLaine (from the film): a Gwen Verdon (the lead in Bob Fosse's Broadway musical) in the making? 

Charity, known for her charitable bent, will give her last penny to a panhandler.  She works as a dancer-for-hire in the Fan-Dango Ballroom.  Employing seductive words and postures, she and her sister dancers entice male customers to buy drinks and "dances."  Herman, their boss, in white shirt and vest, played by cigar chomping Ted Speros with a Joe Pesci delivery, constantly harangues his girls to do their thing.  But what they really want is either to find a guy who will take them away from all this, or a better job, like secretary or receptionist.   Nevertheless, she and her side kicks- Helene, a svelte, blonde in a partial bee-hive, played by Amanda Nordquist, with a working girl accent, and Chelsea Jennings in the rôle of Nickie, a small, spunky brunette- rise to it, singing the popular hit, "Big Spender," joined by the others.

In the opening scene in a park, Charity's boyfriend Charlie (John Espejo), sits on a bench; he never moves or speaks but hides behind his shades.  Oblivious, she rattles on about their imagined life together.  He robs her and dumps her in a pool.  Later, after commiserating with her friends, she runs into movie star Vittorio Vidal in front of the ritzy Pompeii Club as snooty club patrons (the entire ensemble, richly costumed by Ralph Hoy) break into the “Rich Man’s Frug.”  Vidal is played by a perfectly cast Jose Ruiz with the perfect movie star heart-throb look: the hair, the sexy accent.  His girlfriend Ursula (willowy Claire Shiell, a full-of-herself snob), runs out on him in the middle of an argument   An awed Charity is just herself and Vidal is charmed such that he invites her to his hotel.   He leaves his room for a minute; star struck, she sings and dances with hat and cane to the empowering show-stopper, “If My Friends Could See Me Now.”   Though her dream is shattered by Ursula's untimely return, she returns to the dance hall elated.   Helene and Nickie don’t believe her story about Vittorio until she proves she was with him.  Bemoaning their situation, the three sing, “There’s Gotta Be Something Better Than This.”

Spunky Charity endures.  She meets shy Oscar, sensitively played by Joel Garza, at the 92nd St.Y.  They get stuck in an elevator.  He's scared, but she convinces him that he is brave which leads to the heartfelt duet “I’m the Bravest Individual.”   She feels he’s the right man.   Oscar, who seeks out various religious practices, takes her to The Rhythm of Life Church, a hippie concern under an overpass.  True to the late '60s, the cast is decked out in head-bands, feathers, beads, leather vests, and bell-bottoms, as they dance to the rousing “The Rhythm of Life,” lead by Big Daddy (DJ Haynes).  (A devotee looks like a cross between Andy Warhol and Willem Dafoe.)  Oscar and Charity are square pegs in this crowd-  he, in suit and tie; she in a Doris Day dress.  Back in Fan-Dango, Helene and Nickie inspire each other with “Baby Dream Your Dream.”  Later, Oscar and Charity get stuck again, this time on the parachute drop at Coney Island and realize that they were meant for each other.  When rescued, Oscar longingly sings, “Charity.”

Afraid of losing Oscar when he asks how she makes a living, she skirts the question, but it weighs on her.  In a funny, fast-paced scene set in a Mexican restaurant, she tells him the truth.  He’s okay with it, even better when she confesses she’s a virgin.  He says he loves her and proposes.  Herman, the Hostess, and her dance hall sisters throw her a party.  Charity tells them she's as happy as a brass band which leads to a uplifting rendition of "I'm a Brass Band," and everyone march-dances across the stage, miming playing instruments. 

"Sweet Charity" could have ended sadly when Oscar goes into a final tirade, saying that he can’t marry her because of “all the men!”  Women have suffered this rant back then and most likely still do, despite the advances made, thanks to the feminist movement. The final scene is in the park with Oscar and Charity; she again ends up in the pool.  But this girl has spunk!  And confidence!  She asks herself the question in the song, "Where Am I Going?"  She really doesn't know, but has saved some money and will pull herself up and start all over again – in a new town.

In staging crowd scenes, Deborah Shaw's effective and clever choreography engages the entire cast of twenty-eight.  One takes place on a crowded subway.  No subway car, just characters miming hanging onto straps, moving across the bare stage in unison.  Cast standouts are Mia Shaw as Rosie, Joseph Alvarado as the Dance Captain, Christianne Kotoff as the Information Booth Girl at the Y; Dirty Old Man, Larry Pascua; and other actors who doubled up on rôles such as David Richardson, Chris Bruno, and Seth Karten.  Kudos to the rest of the cast for retaining concentration and character throughout which is essential to maintaining a production's energy.  The audience feels it and most importantly, the principals.

Costume designer Ralph Hoy dressed the cast to replicate the era's working class, its street people, the hippies, and the rich.   Set designer Patrick Toebe brought the ‘60s to life in the free-form design of the dressing tables and lighted mirrors.  The back drop displays the pop colors of orange, pink, green, yellow, and blue in amoeba-like shapes and wide stripes, fitted with shuttered windows through which Herman rouses his girls into action. and actors hold up signs announcing scenes and moods a la “Laugh In,”  enchanced by Jeffrey Kelly's lighting. The cast is backed up by George Georges' sound design, and accompanied by musical director Michael Shahani's full live orchestra which never fails to deliver.

Make a point to see one of the final performances: Fri, April 27 @ 8PM; Sat, April 28 @8PM and Sun, April 29 @ 2PM. Go to:   http://www.ccsf.edu/Departments/Theatre_Arts/plays.html for more information.