Review: Sweet Charity at Chapel Off Chapel

Review By Michelle Drinnan

Having performed Sweet Charity in high school, I jumped at the chance to review HeirLume Productions’ version. Seeing the show again as an adult, however, left me with one overwhelming thought: how on earth did they think this was appropriate for a high school to perform?! 

Sweet Charity, the classic musical about the dancer with a heart of gold, is musical theatre in its purest form. Songs such as If My Friends Could See Me Now and Big Spender are iconic examples, packed with character, humour and style. HeirLume presented the show with a grittier, darker interpretation while still remaining true to the unmistakable influence of Bob Fosse and his signature movement style.

The set immediately established the low-income, distinctly 1960s world of the story. A sprawling construction of scaffolding and wire fencing created a chaotic urban landscape, with three lower-level “rooms” transforming into various locations throughout the show and a balcony stretching above. Personally, I love a two-level set—especially when there is a tall person sitting directly in front of my short ass. The design was filled with visual storytelling, with washing lines, debris and various pieces of lived-in clutter. 

The washing line of 1960s costumes was particularly effective in establishing both the period and the low income status of the characters. However, at times the sheer volume of visual information became distracting. Since the balcony doubled as the dancers’ catwalk area, it raised questions as to why washing was hanging on their stage.  

Big Spender is the defining number of the show and the moment for the ensemble to truly showcase their character work, movement skills and attitude. Performed on the balcony, the number looked fantastic and allowed the cast to fully embrace the iconic Fosse style.

Unfortunately, the scene was unintentionally upstaged by Charity being active in her dressing room below. There was little reason for her to be drawing focus at that moment, and it pulled the audience's attention away from what should have been the ensemble's standout showcase.

Erica Wild was a delightful Charity Valentine, bringing infectious joy, warmth and impeccable comic timing to the role. She possesses a natural charisma that makes it impossible not to root for Charity. Her performance reminded me of the warmth and giant smile of Debra Messing. If My Friends Could See Me Now was an absolute highlight, delivered with confidence, humour and boundless energy. Her chemistry with Clancy Enchelmaier was equally engaging.

I am always slightly concerned when one actor is tasked with playing multiple major roles, as was the case with Clancy Enchelmaier portraying Charlie, Vittorio and Oscar. Those concerns disappeared almost immediately. As soon as Clancy stepped into the role of Oscar, the audience would have loved to see him in even more roles! His comic timing was exceptional, his characterisation distinct and his stage presence magnetic. The elevator scene was brilliantly directed and executed, with two very strong comedic performers bouncing off each other beautifully. My only criticism would be that a few more physical changes – specially hairstyle - could have helped further differentiate the suave, confident Vittorio from the nervous and awkward Oscar.

Madeline Pratt as Nickie and Hannah Gutierrez Canon as Helene beautifully embodied the role of the weary but loyal friends. Both performers captured the exhaustion and cynicism of their circumstances while still allowing glimpses of hope and optimism to shine through. Their friendship felt genuine, layered and lived-in.

The directors chose to reimagine aspects of the show through a stronger LGBTQ+ lens. Representation on stage is important, and it is always interesting to explore how classic works can evolve to become more inclusive. Reimagining Nickie and Helene as queer characters and exploring the boundaries of their friendship was a thoughtful and believable interpretation. After all, given the men they encounter daily, why wouldn't they prefer the company of a strong independent woman?

Where this concept became less successful was in The Rhythm of Life. The song centres on a fake religion that preys on vulnerable and easily influenced followers. Reframing the number primarily through a queer lens created a disconnect within the established story. It is difficult for the audience to believe that Oscar, who has been presented as uptight, conservative and straight-laced, would enthusiastically bring Charity to what appears to be an openly LGBTQ+ church community.

Sarahlouise Younger is a phenomenal vocalist. Redesigning The Rhythm of Life into a power ballad was a bold creative choice that certainly allowed them to showcase an extraordinary voice. Their performance was vocally stunning, rich with power and control, and undoubtedly one of the strongest vocal moments of the evening. Later, Sarahlouise also delivered I Love to Cry at Weddings. There is absolutely no question that they can S.I.N.G. However, musically reimagining this playful, comedic song as a vehicle for powerhouse belting undermined the humour and charm of the original number.

I particularly enjoyed the precision and technical excellence of Tyler-Rose Shattock’s dance work, especially during the club scenes. The sharpness, confidence and attention to detail in the choreography would undoubtedly have made Bob Fosse proud. More broadly, the entire female ensemble worked together as a true company, transitioning seamlessly between characters and situations. The choreography was beautifully crafted, enabling a relatively small cast to create a world that felt much larger. Every movement contributed to the storytelling, and the cast demonstrated a cohesive and supportive ensemble spirit throughout the production.

The performers also handled set transitions with impressive efficiency, often moving scenery themselves and cleverly using the wire framework to establish new locations. One complaint however, came during the otherwise lovely storytelling of I'm a Brass Band. Charity climbs into what is very clearly a modern Coles shopping trolley. If the production cannot remove the coin slot and chain, then don’t use it in a show set in the 1960s. A simple box trolley would have achieved the same effect, remained period-appropriate, and possibly been safer as well.

Overall, HeirLume Productions delivered an entertaining and ambitious interpretation of this classic musical. The production embraced the grit and complexity of the material while celebrating the joy, humour and iconic choreography that have made Sweet Charity endure for decades. Most importantly, it reminded me that this wonderfully dark, surprisingly adult musical is probably one that should never be performed by high schools.

Thank you for a thoroughly enjoyable night at the theatre.

Image Supplied