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Meet Charity Hope Valentine. She's a true original, an eternal optimist...and the unluckiest romantic in New York City. Emmy Award winner Christina Applegate stars in a dazzling new Broadway production of this smash hit musical. Directed by Walter Bobbie (a Tony Award winner for Broadway's runaway hit Chicago) and choreographed by Wayne Cilento (Wicked, Aida), Sweet Charity has a hilarious book by none other than Neil Simon. And the classic score (by Cy Coleman and Dorothy Fields) features such hits as 'Hey, Big Spender' and 'If My Friends Could See Me Now.' Swing on by the Fandango ballroom...and let Charity dance her way into your heart!
The last time Sweet Charity played Broadway, it was in a twentieth-anniversary revival that adhered closely to the 1966 original. With original stager Bob Fosse still in charge, the superb choreography was scrupulously recreated. Also back were Robert Randolph's stylized, abstract settings. Neil Simon's book revisions amounted to no more than modest trims. As in the original production, the title role was taken by an experienced musical woman who was also a top-notch dancer.
Christina Applegate has recovered enough from her famously broken foot to step into her Broadway debut with moderate dancing ease and massive likability. Gone is any trace of Charlotte D'Amboise, the veteran standby and thoroughbred Broadway workhorse who received star-is-finally-born coverage when she replaced Applegate during tryouts. She entered the annals of theatrical martyrdom when the producers decided not to come to New York, and then, after Applegate persuaded them to cancel the cancellation, they kept her on for the first week of previews.
Show Biography - Sweet Charity
All of that fidelity produced sparkling results. But in the hard-working but seriously underpowered new production of Sweet Charity at the Al Hirschfeld Theatre, just about everything is different from the original. Unlike the two previous productions of the show, this one was not conceived for an accomplished Broadway dancer-comedienne. Instead, it marks the Broadway debut (and apparent musical-theater debut) of film and television actress Christina Applegate. While Wayne Cilento's choreography offers occasional homages to Fosse's original, the musical staging is new. Simon has done a thorough rewrite of his book, with perhaps a quarter of the dialogue altered.
Not unusual for a musical revival, songs have been moved and assigned to different characters. Thus, Nickie and Helene and the Company do 'You Should See Yourself' without Applegate, giving her a chance to rest up for her 'Charity's Soliloquy.' Denis O'Hare gets a new song, 'A Good Impression', which is said to have been pulled from composer Cy Coleman's trunk before he died, and Ernie Sabella's Herman has his turn in the spotlight with 'Love to Cry at Weddings. '
This show has a particuarly fine overture which music director Don York and his ochestra play with gusto -- unfortunately a bit too much so. It's as if York feels the need to raise the decibel level to compensate for today's budget-conscious smaller pit orchestras. Scott Pask's sets are bright and often amusing (my favorite and probably everybody else's: the train-long couch in Vittorio Vidal's apartment and the all red painting that lighting designer Brian MacDevitt at one point ingeniously sets ablaze). William Ivey Long's costumes are, as always, flattering and right on the button. It all adds up to a good time show designed to encourage tourists and anyone with a yen for an old-fashioned musical chockablock with memorable tunes to be 'a big spender' and invest in a ticket.
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All of that fidelity produced sparkling results. But in the hard-working but seriously underpowered new production of Sweet Charity at the Al Hirschfeld Theatre, just about everything is different from the original. Unlike the two previous productions of the show, this one was not conceived for an accomplished Broadway dancer-comedienne. Instead, it marks the Broadway debut (and apparent musical-theater debut) of film and television actress Christina Applegate. While Wayne Cilento's choreography offers occasional homages to Fosse's original, the musical staging is new. Simon has done a thorough rewrite of his book, with perhaps a quarter of the dialogue altered.
