#1
Posted: 4/14/05 at 12:00pm
*** SPOILERS *** SPOLIERS **** SPOIILERS***
I've been looking forward to seeing the is for quite a few months, and though I really wanted to love this production, but despite Charlotte, Denis and a terrifically talented cast selling it for far more than its worth it is painfully obvious that SWEET CHARITY is a thin show with an undernourished and painfully dated storyline. To make it fly, it must have two things: a dynamic and funny star turn (in equal turns vulnerable and spunky, yet not appearing to be a complete nincompoop) by its leading lady and inventive, dazzling choreography. So far, it's lacking both. Charlotte trys very hard, but she isn't naturally funny, and even in her dancing, one feels that she (and the rest of the dancers) is hemmed in by the unexciting sub-Fosse-lite Cilento. Several times during the show, I kept wishing that the original Fosse choreography had been retained. Though there was some nifty staging bits (the use of the "Rothko" in Vittorio's flat) the sets look drab, cheap and dark, and despite some nice Pucci touches for the Fandango girls, it appears that William Ivey Long has finally exausted the 1960s.
I know why many people have a problem with O'Hare. In a supporting cast peopled with kooky-or-sassy character 'types', he plays Oscar as a flesh-and-blood person instead of a cardboard funny "shnook". Though the elevator scene as written is supposed to be funny, but O'Hare makes Oscars panic attack palpalbly real, even harrowing. (As someone who had had similar panic and anger attacks, I have to say that scenes like this - like Leo Blooms' 'Blue Blankie' fit in THE PRODUCERS, can often be uncomfortable viewing experiences, particularly surrounded by an audience howling with glee). Here was also Christinas best acting of the evening where Charity's calming tenderness despite her fright was beautifully beautifully played. I also liked Denis sweet voice which was perfect for his two too-brief numbers, (and yes, "A Good Impression" seemed like it was barely written).
And the ending remains completely unsatisfying, and frankly unbelievable. I saw no evidence of the character development that might make Charity a newly "liberated" woman.
And Ernie Sabella is completely wasted: His contributions are just to saunter on stage, bark at the Fandango girls and leave, though he does initiate the "I Love To Cry At Weddings" number (yes, it's back in. "If There Were More People Like You" is out).
After all this, I'm still curious to see Christina and see what she can add to the show.
I've been looking forward to seeing the is for quite a few months, and though I really wanted to love this production, but despite Charlotte, Denis and a terrifically talented cast selling it for far more than its worth it is painfully obvious that SWEET CHARITY is a thin show with an undernourished and painfully dated storyline. To make it fly, it must have two things: a dynamic and funny star turn (in equal turns vulnerable and spunky, yet not appearing to be a complete nincompoop) by its leading lady and inventive, dazzling choreography. So far, it's lacking both. Charlotte trys very hard, but she isn't naturally funny, and even in her dancing, one feels that she (and the rest of the dancers) is hemmed in by the unexciting sub-Fosse-lite Cilento. Several times during the show, I kept wishing that the original Fosse choreography had been retained. Though there was some nifty staging bits (the use of the "Rothko" in Vittorio's flat) the sets look drab, cheap and dark, and despite some nice Pucci touches for the Fandango girls, it appears that William Ivey Long has finally exausted the 1960s.
I know why many people have a problem with O'Hare. In a supporting cast peopled with kooky-or-sassy character 'types', he plays Oscar as a flesh-and-blood person instead of a cardboard funny "shnook". Though the elevator scene as written is supposed to be funny, but O'Hare makes Oscars panic attack palpalbly real, even harrowing. (As someone who had had similar panic and anger attacks, I have to say that scenes like this - like Leo Blooms' 'Blue Blankie' fit in THE PRODUCERS, can often be uncomfortable viewing experiences, particularly surrounded by an audience howling with glee). Here was also Christinas best acting of the evening where Charity's calming tenderness despite her fright was beautifully beautifully played. I also liked Denis sweet voice which was perfect for his two too-brief numbers, (and yes, "A Good Impression" seemed like it was barely written).
And the ending remains completely unsatisfying, and frankly unbelievable. I saw no evidence of the character development that might make Charity a newly "liberated" woman.
And Ernie Sabella is completely wasted: His contributions are just to saunter on stage, bark at the Fandango girls and leave, though he does initiate the "I Love To Cry At Weddings" number (yes, it's back in. "If There Were More People Like You" is out).
After all this, I'm still curious to see Christina and see what she can add to the show.
"Christ, Bette Davis?!?!"
