1 day Ago
The sloganeering of the 2024 presidential campaign often seemed to center around two contradictory messages, one seeking a return to a “great” past, the other saying, “We’re not going back.” We all know what voters decided, but I’ll be curious to see how those conflicting ideas play out in the art that graces our stages, screens and radio stations in the next few years. Will we go forward or will a return to older ideas hold sway? For its first production of 2025, Artistry Theater seems to be saying no to both approaches.
For, in choosing to launch its season with the 1966 musical, “Sweet Charity,” the company is definitely going back, but not to anything approaching greatness. Despite assembling an exceptionally talented cast and 20-piece onstage orchestra, as well as a clearly gifted choreographer, director and design team, Artistry made one key error: Choosing to produce a musical as weak as “Sweet Charity.” Yes, there are some fine songs by composer Cy Coleman and lyricist Dorothy Fields that have stood the test of time (“Big Spender,” “If My Friends Could See Me Now”), but the songs whose titles most eloquently encapsulate this piece of outdated musical theater are “Where Am I Going?” and “There’s Gotta Be Something Better Than This.
” Related Articles Theater | Review: History Theatre’s ‘Root Beer Lady’ a captivating portrait of a woman of the wilderness Theater | Set in 1913, the politically charged musical ‘Parade’ remains utterly relevant today Theater | ‘Dealing With Dragons’ captures humor of beloved Minnesota-grown children’s fantasy novel Theater | Theater review: Fear not, for ‘Leonardo!’ is one adorable monster movie Theater | Theater review: Guthrie’s ‘Heart Sellers’ a funny, touching quest for connection Neil Simon’s script and the indelible influence of original director Bob Fosse (whose brainchild it was) seem to bear precious little respect or affection for any character as they run them through a disjointed collage of scenes. The whole musical has an unfinished feel, as if its creators had multiple ideas and threw them all onstage without any regard for storytelling, character development or continuity. But what’s particularly disappointing is that a company that displayed a commitment to pushing its chosen art form of musical theater forward last year with a widely acclaimed production of “Rent” has turned around and produced something so primitive in its view of gender relations and sexuality.
“Sweet Charity” is based upon a 1957 Federico Fellini film, “Nights of Cabiria,” about a series of events in the life of a prostitute. Fosse and company decided to make her profession “dance hall hostess,” although it’s made clear that many of her colleagues turn tricks on the side. Artistry chooses to adopt a number of Fosse-isms in its costuming and choreography, such as bumping and grinding women in short black dresses and lots of mascara (as seen in “Chicago” and elsewhere).
What a shame to waste the talents of artists like Shinah Hey, who does about as much as one could hope with the shallow and single-minded Charity. Hey displays a fine voice and executes Abby Magalee’s choreography well. And Hope Nordquist and Jaclyn McDonald ably embody her cynical sidekicks.
As for the men in Charity’s life, Adan Varela and Brendan Nelson Finn prove engaging with characters of disparate temperaments. Director Laura Leffler has clearly convinced her cast to buy into this unsatisfying tale of a continually abused optimist. And while music director Isabella Dawis, conductor Anita Ruth and the orchestra do a fine job with the score, some of composer Coleman’s pale imitations of rock and roll are pretty wince-worthy, just another element of this museum piece that should probably be exiled to the archives.
Artistry Theater’s ‘Sweet Charity’ Rob Hubbard can be found at [email protected]..
