SWEET CHARITY. To 25 January.

Sheffield

SWEET CHARITY
Book by Neil Simon Lyrics by Dorothy Fields Music by Cy Coleman

Crucible Theatre To 25 January 2003
Tue-Sat 7.30pm Mat Sat, also 2,8,15,22 January 2.30pm
Open Rehearsal 4pm 16 January
Audio Described/BSL Signed 9 January
Sub-titled 235 January 2.30pm
Runs 2hr 45min One interval

TICKETS 0114 249 6000
www.sheffieldtheatres.co.uk

A finely performed, high-energy production, showing the Crucible again at full-tilt.The minute you walk in the door you can tell this is a show of distinction – a real high-flyer. On a bare stage backed by a huge fire-escape-like staircase, it's clearly the work of someone confident enough of the Crucible's open thrust space to handle it flexibly, uncluttered by realistic scenery.

And that's how it goes on, from the open-air park where hopeful young Charity's left dunked in the pond by her most recent conman-lover. But the production comes into its own as the action swings to the hostile environment of the dance-hall where Charity survives one step above prostitution as an all-comers' dancing partner. (A good US-style clean up: in the original Fellini film, Cabiria is a prostitute, of unsullied benevolence.)

As the workers there – women for whom a receptionist's job is an idealised dream – line up down the stairway to Hell, singing the show-opening showstopper 'Big Spender', cold flattery by bruised people with all the feminine sensibility of a convocation of Clytemnestras and Medeas, it's clear that Charity's a girl in a thousand, keeping her hopes of love alive in this maelstrom of emotional alienation.

Anna-Jane Casey's beautifully cast. Her slight figure has the pert alertness of someone for whom hope springs eternally fresh despite experience. She has the goodness that only sees good in others and sees tomorrow not just as another, but a doubtless better, day. Invited back to a film-star's bedroom as a fill-in date, she manages to offer herself without seeming promiscuous through sheer good nature. In ensemble dance and song numbers, Casey stands out, apparently effortlessly.

Director Timothy Sheader throws a complex palate at a show which veers into farce (Charity hiding away and popping out to oversee matinee idol Vidal with his real partner) and inconsequence (a visit to a high-energy dance religious group).

Tim Mitchell's lighting, employing strong colours to highlight various swathes of the stage, and Karen Bruce's choreography help the show leap along. And in a strong company, Martin Marquez is outstanding as the shy man with the inner fury who's the latest – but not, you're sure, last – failed hope of Charity's faith-filled heart.

Charity Hope Valentine: Anna-Jane Casey
Helene: Nina French
Nickie: Nikki Belsher
Herman: Kevin Rooney
Ursala: Clare Foster
Vittorio Vidal: Mark Inscoe
Oscar Lindquist: John Marquez
Big Daddy: David Bedella
Ensemble: Joanne Henry, Melanie Housley, Stori James, Sherrie Pennington, Kelly Rainford, Annalisa Rossi, Dylan Turner, Zeph
Boy with Red Balloon: Alex Colley/Christopher Hallam/Massimo Restaino/Ashley Williams

Director: Timothy Sheader
Designer: Robert Jones
Lighting: Tim Mitchell
Musical Director: Catherine Jayes
Musical Arrangements: Steven Edis
Choreographer: Karen Bruce
Dialect Coach: Jill McCulough
Flying: Foy

2002-12-23 10:08:04