Girls of the Fandango Ballroom
Pictured: Calia Johnson, Brittany Danielle*, Katie Pogue Jaime, Molly Bell*, Amanda Denison, Nicole Helfer, Alison Ewing*, Tielle Baker
SWEET CHARITY:Musical. Book by Neil Simon. Music by Cy Coleman. Lyrics by Dorothy Fields. Based on an original screenplay by Federico Fellini, Tullio Pinelli and Ennio Flaiano. Conceived, staged and choreographed by Bob Fosse. Directed by Timothy Near. Center REPertory Company 1601 Civic Drive in downtown Walnut Creek. 925.943.7469 or www.CenterREP.org. May 17 –June 22, 2013.
SWEET CHARITY at CenterRep is a dynamite MUST SEE show.
The “must see” in the headline is intentionally in capital letters to emphasize the quality of Center Rep’s stunning production. Neil Simon should put Timothy Near on his payroll to direct his plays. A year ago Timothy Near directed Simon’s comedy/farce Rumors for Center Rep and it was a total winner. Yes, Neil Simon is credited with the book for Sweet Charity but he was aided and abetted by Cy Colman and Dorothy Fields’ music and lyrics that fit like a glove into the story line.
Although the storyline was lifted from the black and white Fellini film Nights of Cabiria, Simon and cohorts cleaned it up a bit making the main character a dance-hall hostess rather than a woman of the streets. When it opened on Broadway it starred Bob Fosse’s wife Gwen Verdon as the poor put upon ever hopeful Charity. Gwen Verdon put her stamp on the role when Sweet Charity opened on Broadway in 1966 (47 years ago!!) and now the multi-talented Molly Bell can add her name to the short list of those who were great in the part.
From the simply but classily staged opening number with only a flowering tree and green park bench for props, Charity Hope Valentine sashays to footlight telling us the wonderful things her present amoretti Charlie will say to her in “You Should See Yourself” before he dumps her into the lake and takes off with all of her money.
After being sort of rescued by a park policeman she heads to her job at the Fandango Ballroom. Charity defends Charlie but Nickie (Allison Ewing) tells her “you run your heart like a hotel — you’ve always got people checking in and checking out.” Fandango boss Herman (local favorite Colin Thomson) tells them to break it up and get to work. Boy and do they go to work as they carry a railing made of two pipes to center stage dressed in garishly gorgeous costumes bringing applause from the audience with the hysterical and hysterically danced “Big Spender.” Choreographer Jennifer Perry wisely keeps the “Fosse touch” to the dancing and the ensemble responds with exuberance and precision and you will get exhausted watching them do the “Rich Man’s Frug.”
Charity’s next encounter with screen star Vittorio Vidal (Noel Anthony) ends up as a disappointment but before that happens director Near puts her stamp on the hilarious scene that leads to a tour de force bit for Molly/Charity with “If My Friends Could See Me Now” using only a autographed photo, top hat and cane. Noel Anthony is a perfect foil for
Charity “If You could see me now!”
Molly Bell and plays his role with a straight face and gets to sing “Too Many Tomorrows” before he shoves her into his closet when his true love Ursala (Brittany Danielle) shows up. Charity’s time in the closet brings out some extremely funny stage action not to be revealed here.
Before the first act ends Charity gets stuck in an elevator with nice-guy Oscar (Kieth Pinto) who is claustrophobic and she sort of rescues him with the assurance “I’m the Bravest Individual” before the lights go out. End of Act I.
What do the writer’s have up their sleeves for a second act opening? They come up with a winner with the “Rhythm of Life” song and dance to end all hippie dances. Center rep has imported full body sized James Monroe Iglehart to play Daddy Brubeck and he is an absolute marvel in voice and dance bringing the house down with his actions. It helps that the entire cast gives him support.
You get the idea of the kind of fun you are in for when, not if, you go to see Timothy Near’s opus. The staging sets, rotating lights, orchestra and lighting are marvels. Although Anthony, Iglehart, Pinto and Colin Thompson hold their own, this show belongs to the ladies. Two standouts are Alison Ewing and Brittany Danielle who get two spots in the show to displa
Alison Ewing*, Brittany Danielle
y their talents as singers and dancers. They are ready to take on the lead roles as Roxie Hart and Velma Kelly whenever the musical Chicagorolls around. Running time 2 hours and 20 minutes but it races by and be assured you will never look at your watch.
Kedar K. Adour, MD
Courtesy of www.theatreworldinternetmagazine.com
Photos by: www.kevinberne.com
