AMATEUR THEATRE REVIEW: Sweet Charity - Rhyl Little Theatre, Rhyl.

When faced with the witticisms of Neil Simon, the flamboyant musical style of Cy Coleman, and veteran Broadway librettist and lyricist Dorothy Fields, you know you're in for a real treat. 'Sweet Charity' was written in the 1960s with the Broadway show opening in 1966, and unlike many musicals of that era which have fallen by the wayside, this one has most certainly, and quite justifiably, stood the test of time. 

The story tells of a taxi dancer - a term that is now no longer used on either side of the Atlantic, but can best be described as a paid female dance partner for single men at parties and events. Perhaps the word 'escort' could be used today; but that has a much more sexual connotation. Some taxi dancers would indulge in that too for more money; and it is fair to say that our protagonist, Charity Hope Valentine, was not above such a thing herself either in her relentless quest for love! Along the way in her quest she meets, and falls in love with, more or less anyone in trousers, or at least, anyone who can provide for her. That is, until she meets the one man who needs her and relies on her instead. Something new for her, and she likes it. A true romance between her and Oscar Lindqvist then ensues; however, nothing ever really goes as planned in life, does it...?!

In this production by Rhyl And Disctrict Musical Theatre Company, the whole was directed by Julian Eyre with choreography by Gail Astie. Both Eyre and Astie had a thorough knowledge of the show and how the show should feel and look. They understood the show, the through narrative and dynamics, and wrought the very best out of their cast of amateur local performers. The dances were all of the right period, all realised well with good and creative use of space, and all within the capabilities of those being asked to perform the routines. Superb costuming (including wigs and make-up) throughout helped enormously. Whilst the direction was solid and a clear arc of the whole show as well as individual character developments were nicely placed and paced.

Chloe Ward obviously enjoyed every second of her stage time as Charity, and was a highly proficient triple-threat with good stage presence giving a very watchable and likeable performance. Ashley McAllister's Oscar made a truly interesting character choice, as to begin with he painted himself much more caricature than character, stuck in an elevator with Charity ending act one on a cartoon cut-out. However, his growth in act 2 turned his character around and by the end I was wholly invested in him and felt genuinely sorry for the whole situation. 

Praise must also go to George Kelly who managed to play two divergent roles convincingly, with good stage presence and an enigmatic glint in the eye. As screen legend Vittorio Vidal, he was ironically egocentric, whilst he carried off the aging pot-smoking cult leader Daddy Brubeck with ease. 

Nikki Renshaw and Lisa Tudbull played Nickie and Helene respectively; the two best friends and fellow taxi dancers at the Fandango Ballrooom. They had a couple of lovely duets and Renshaw especially showed great stage presence during the scenes they shared. 

The one thing which most unfortunately let the company and production down this evening was things technical. Most of the problems inherent here could quite easily be solved and rectified, but sadly, the technical side of this evening's performance left much to be desired. The 'gauze' curtain used to mask many of the scene changes was see-through and so was not masking the changes at all. The set items being brought on and off were done so interrupting stage action, and also quite noisily too. Long pauses between scenes as set items were moved, since it looked like Stage Management had not given the team individual tasks, giving the impression of a few people in black running around like headless chickens at times. 

The lighting and sound technicians are volunteer staff from the Little Theatre itself, and comprises both able and disabled and those with other vulnerabilities. There were several issues which simply went somewhat awry this evening on both lighting and sound, and was obviously a huge learning curve for those involved. Clearly more mentoring and assistance should have been provided for them to confidently deal with a full-scale public performance. I would also most certainly advise trying to find an alternative (and invisible) tape to hold the personal mics in place on the cast's faces. 

I have never seen a production by RDMTC before, and so had no idea what to expect. What can be said is that everyone on stage this evening was fully committed and gave their alls to this show which certainly paid its dividend. A sincere - as well as humorous - hat nod back to an almost forgotten era, sensibly produced and very entertaining. 

Reviewer - Matthew Dougall
on - 11.5.22