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Sweet Charity

Sweet Charity Rating

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Opening night of Sweet Charity at Chapel Off Chapel, Friday, 19th June, 2026.

Heirlume Productions presents the iconic Bob Fosse musical, Sweet Charity, with support from Forest Collective, the award-winning Australian arts organisation founded in 2009 by composer and conductor Evan Jay Lawson. Playing at Chapel Off Chapel from 18 to 28 June, this production brings together Heirlume’s theatrical vision with Forest Collective’s musical expertise in a successful and masterful collaboration.

Sweet Charity, written by Broadway legend, Neil Simon, with a great score by Cy Coleman and lyrics by Dorothy Fields, has always been a musical fan favourite.

Taken from the plot of a 1957 Italian film about a streetwalker, Nights of Cabiria (Le notti di Cabiria), Simon’s musical rendition kept four of the film’s landmark moments. Conceived, staged, directed and choreographed by Bob Fosse for his wife, the irrepressible Gwen Verdon, Sweet Charity premiered on Broadway, New York, in 1966 and was nominated for nine Tony Awards with a win for Fosse’s unmistakeable quirky and technical choreography. Let’s just say, Fosse made it his own.

So, no surprise the opening night audience at Chapel Off Chapel were bustling with excitement ready to soak in its many hit songs and, to experience that fabulous Fosse feeling, however, we were not prepared for how tight, fabulous and professional this production and its cast were going to be.

Director, Madison Lee, has reinvigorated the beloved characters and legendary score with a “queer love story and a tale of self-acceptance.” In her Program Director’s Note, Madi reminds us that “Charity Hope Valentine is a woman who wants to be loved completely resisting against a world that has given her very little reason to keep believing….” Except for, “…her chosen family, the people who hold us when we get back up and remind us who we are when the world tries to tell us otherwise.”

 

 

Lee has directed a female ensemble so strong and diverse, most playing multiple parts, I haven’t seen the likes of together in years:

Experienced VCA graduate, Erica Wild, fresh back from West End, U.K., embodies Charity Hope Valentine with honesty and sweetness. Wild is hardly ever offstage but gives everything she has to this role, with all her innocence and energy. She is easy to love.

Producer, Heirlume founder and Productions Artistic Director, Manda Rozen-Flannery, says of Charity, “…something feels inherently neurodivergent … about her.” Wild captures this perfectly.

Wild is supported by second leads, Madeline Pratt as Nickie and Hannah Gutierrez Cañon as Helene, playing two seasoned dance hall girls weathered and baffled by Charity’s naivety.

Choreographer and educator, Pratt is powerful in singing, acting and dancing.

For Cabaret performer and former National Latin dance Champion, Cañon, new to the Musical Theatre industry, her dance expertise is obvious.

As is the dance talent of Tyler-Rose Shattock, who charmed us as an excellent Frug Girl in the nightclub scene. Shattock also stands out with all her other characters.

Extremely talented and versatile Sara-Louise Younger plays both the Herman and Daddy characters. Her version of ‘Rhythm of Life’ along with the whole cast, was simply transformational. Singing gospel one minute and opera the next, her range and voice is unique to Australia.

Supported by Alessandra Negro as Ursula, Eden Holmes as Carmen, Lisa-Marie Coad as Betsy and Bridie Erwin-Keirl as Rosie, all playing multiple other roles, the hard work and camaraderie of the whole troupe beams and was just a pleasure to watch.

Clancy Enchelmaier plays the only three male roles, from Charity’s bad choice of boyfriend at the start to movie star, Vittorio, to romantic lead, Oscar. His distinguished voice and range is strong.

This show is also excellent creatively:

The audience was delighted with Jesse Matthews’ choreography. He is resident performer and choreographer for Forest Collective. Matthews paid tribute to Fosse’s unmistakeable 60’s style keeping the line of the classic number, ‘Big Spender’ while adding a touch of difference.
Even in this smaller production, the choreography shines and was one of the highlights of this show.

The iconic dance scene from the Sweet Charity movie, titled, “The Aloof” is a perfect blend of elegance, satire, and stylistic brilliance in storytelling. There is no expression on any of the dancers’ faces in “The Aloof”, however, in this production, Matthews / Lee have decided to arm Shattock’s Frug girl with sexiness and smiles, energising us into the vibe of a nightclub, also switching us away from the dim of the dance hall.

Forest Collective Artistic Director, contemporary composer, singer and conductor, Evan J Lawson, and Composer, Pianist and Musical Director, Max Kielly are co-musical directors on Sweet Charity and are sharing time in the conducting of the orchestra, with Orchestrator, Shanon Whitelock. It’s obvious this has been a very successful collaboration.

An energetic score that is usually undertaken by a full orchestra has been executed with precision by this award winning and versatile crew of six musicians, Thomas English on woodwind, Bodhi Scott-Jones on trumpet, Max Kielly on keys,
Felix Gilmour on percussion, Benjamin Lamb on guitar and Ian Crossfield on upright & electric bass.

The shows’ Costume Designer, Zachary Dixon, has pieced together items that tell a story throughout each scene, from Charity’s gingham print summer dress – she probably wore from her hick town into the big city dance hall for work – to Nickie and Helene’s Lingerie variations, to Daddy’s hippie church group collections, the costumes are colourful and timely in the best way.

Lighting Designer, Ruben Laine, Sound Designer, Lukas Battey and stage manager, Samara Louise have connected all of these dots seamlessly to present to us a stage of scaffolding representing the dance hall above and the dressing rooms below, as well as the highs and the lows of their lifestyle.

I enjoyed this show so much, I may attend once more.
If you can get tickets, hurry up and get them now before they sell out.
This show is not to be missed.

@heirlume.productions
@evanjlawson
@itsmadilee
@erica_wild
@manda.rozenflannery
@madeline.pratt
@chacha_chilena
@tylerrose_shattock
@slyoungerparker
@clancy.ench
@jesse_matthews99
@maxkielly
@shannondw

To book tickets to Sweet Charity, please visit https://chapeloffchapel.com.au/show/sweet-charity/.

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Sweet Charity

Sweet Charity

Sweet Charity Rating

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Hornsby Musical Society’s production of Sweet Charity succeeds because it understands the difficult balance at the heart of the musical. Beneath the colour, comedy, energetic choreography, and sharp stylisation sits a story about loneliness, resilience, and the exhausting act of continuing to hope. This production never loses sight of that emotional core.

At the centre of everything is Victoria Alfieris as Charity Hope Valentine, and it is her performance that anchors the entire production. Alfieris brings charm, vulnerability, spark, and sincerity to the role without ever reducing Charity to caricature or sentimentality. Her performance captures the essential contradiction of the character: a woman repeatedly bruised by disappointment who continues moving through life with irrepressible optimism. That emotional openness carried through her singing and dancing, creating a Charity who always felt emotionally alive and in motion.

Several musical numbers particularly showcased her strengths. “You Should See Yourself” was tender and sincere, while “If My Friends Could See Me Now” balanced comic exuberance with emotional honesty beneath the fantasy. “I’m A Brass Band” became one of the evening’s emotional high points, with Alfieris capturing Charity’s overwhelming rush of hope and possibility with infectious warmth.

James Denton’s Oscar Lindquist provided an effective counterpoint to Charity’s energy. Denton wisely leaned into Oscar’s physical awkwardness, using nervous movement, hesitant posture, and restrained reactions to make the character endearing rather than merely eccentric. This physicality gradually softened during the Ferris wheel scene, allowing genuine warmth and connection to emerge naturally between the two leads. Denton’s understated comic work during “I Love to Cry at Weddings” was particularly effective, with small physical reactions and visible discomfort generating both humour and sympathy.

 

 

Among the supporting cast, Max Waterson stood out as Vittorio Vidal. Rather than pushing the role into parody, Waterson gave Vittorio genuine charm and sweetness, especially during “Too Many Tomorrows,” which landed with surprising sincerity. Alfieris and Waterson also played beautifully off one another during the apartment sequence, balancing comedy, fantasy, and genuine warmth in a way that made Charity’s excitement feel completely believable.

The ensemble work throughout the production was consistently strong. “Big Spender,” “Rich Man’s Frug,” and “Rhythm of Life” each possessed distinct physical identities and strong collective energy. Director and choreographer Lauren Oxenham, who also choreographed Hornsby Musical Society’s Grease last year, again demonstrated a strong instinct for ensemble movement and theatrical rhythm. Where Grease required buoyant nostalgia, Sweet Charity demanded sharper stylisation and emotional edge, and Oxenham’s choreography rose confidently to that challenge.

The production’s visual design also deserves praise. The abstract, block-like set design, at times reminiscent of Rothko paintings, created flexible playing spaces that transformed smoothly into locations such as the elevator, closet, and Ferris wheel. Costumes brought generous colour to the production while still allowing larger numbers like “Rich Man’s Frug” and “Rhythm of Life” to develop distinct visual identities. Lighting was also used effectively to shape mood and transitions, though from some audience positions several lighting cues projected directly into sightlines and briefly became distracting.

Musically, the production maintained strong momentum throughout the evening, with the orchestra supporting the show’s shifting emotional rhythms without overwhelming the performers. Just as importantly, the production trusted the emotional honesty of the material. Rather than treating the ending as cynical, the final moments suggested something more hopeful: that despite repeated disappointments, Charity retains the capacity to keep moving forward.

That sense of resilience lingered after the curtain call. In the end, Hornsby Musical Society delivered a production of Sweet Charity that was not only entertaining and visually confident, but emotionally sincere, anchored by a warm and compelling central performance from Victoria Alfieris.

To book tickets to Sweet Charity, please visit https://www.pioneertheatre.com.au/whats-on/sweetcharity.

Photographer: Stefanie Roche Dobb

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Sweet Charity – Closing Days

Sweet Charity

Sweet Charity Rating

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Firstly, ‘Sweet Charity’ is a musical with music by Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon. It was directed and choreographed for Broadway by the legendary Bob Fosse and based on the screenplay for the 1957 Italian film Nights of Cabiria. A show so rich in big name history is no easy feat to pull off and the team at the Mountain District Musical Society currently playing the show at Karralyka Theatre in Ringwood have done an outstanding job.

‘Charity Hope Valentine’ is a taxi dancer, a dance partner-for-hire at a seedy dance hall in New York City. Though the job may be decidedly undesirable, Charity’s hopeful romanticism and unfailing optimism lift her out of her circumstances and help her reach for a life beyond. In the past, she’s been strung along and hung out to dry by a series of bad relationships and lousier men. When she meets Oscar, a neurotic, shy actuary seemingly from another world, will she finally find true love at last?

With a laugh-a-minute script by the incomparable, the audience is destined to fall in love with Charity’s limitless spirit, as she lives life “hopefully ever after.” This exuberant, groovy, hilarious musical comedy includes hits such as Big Spender, If My Friends Could See Me Now, I’m a Brass Band and Baby, Dream Your Dream.

 

So, having read and seen many a Sweet Charity production before, my expectations are quite high. The “just want to be loved” leading lady Charity is bright and bubbly as played by Madeleine Magetti with an excellent authentic accent from New York. According to the program, this is her dream role, and what a role; this show is all Charity! Madeleine brought to the main character a sense of longing for the audience to feel for her situation, and laughter of course, but we also knew that Charity was seeking even more than love; for acceptance of who she is and the future she dreams of.

‘Oscar’ played by Leigh Roncon was just sooooo much fun, what a talent in comedy! The elevator scene cannot be beaten with claustrophobic Oscar and the upbeat positive Charity trying to hold him together and not panic; it’s professional quality from both of them in this extensive scripting.

There’s LOTS of dancing in the show and LOTS of great musical numbers, the orchestra is a simply amazing; one of the best I’ve heard in an amateur production for sure.

‘Big Spender’ always packs a punch and that theme (that is impossible not to like) is played throughout the show – I loved watching all the girls act it up in their own personality, all of them different but giving the same story to their men visitors “open for business” LOL.

My favourite group rendition was definitely ‘Rhythm of Life’ with Daddy Brubeck played by Jason Sainsbury-King taking over the stage with his band of new age church hippies under the bridge. If you grew up in the 60s you’re going to tap your feet, sing along and enjoy everything about this and the spot-on costuming, full of flower power; I didn’t want it to end!

 

A standout solo for me was sung by Vittorio played by Julian Campobasso with ‘Too Many Tomorrows’ and the Beehive & Blonde duet ‘Baby Dream Your Dream’ by Nickie and Helene, played by Nicole Kapiniaris-Anson and Hayley Wooten, was only one part of a show filled with their incredible talents as Charity’s two best friends in the dance hall.

The dance hall scenes are great by all the cast and the ensemble too in this show got plenty of shine time, especially in ‘I love to cry at Weddings’ where I think they were able to ad lib and did such a good job.

Bonus points on clever use of the set, the fountain lake, the big window in the apartment and the props and clothes with the line “hide in the wardrobe” – I couldn’t even tell Charity was there in plain sight as she disappeared into the rack.

The supporting cast bounced well off each other. Both my friend and I felt the enthusiasm and love between them all on stage, and the way in which everyone makes up the finale bows was a fabulous finish with tons of applause for all:

Herman: Michael Gibson
Ursula: Ella Miatke
Carmen: Ellen Lane
Rosie: Jessica Clark
Suzanne: Amber Orchard
Betsy: Gaynor Borlase
Frenchy: Stephanie Vienet
Elaine: Jade Bishop
Alice: Olivia Poggi

Ensemble: Katherine Gloss, Samara Trimble, Ainsley Thomson, Steve Atkinson, Talwyn Gibson, Mark Curran, Nick Toovey, Kyah Pritchard.

Congratulations to Director/Choreographer Di Morgan, Musical Director Vicki Quinn and your production team. We loved it – a happy night out with a bestie who also loves musical theatre.

The Karralyka Theatre in Mines Rd Ringwood is one of the best suburban venues – easy to get to, easy parking, comfortable seats and very reasonable ticket prices. Ticket link: https://www.karralyka.com.au/Theatre/Touring-and-Community/MDMS-Presents-Sweet-Charity

The program is great, too. Give whoever put that together for this show a clap. Make sure you get one. I often think amateur theatre programs are better than professional ones. It has lots of information and pictures of everyone in the cast and creative team.

SWEET CHARITY is playing the rest of this weekend until their Sunday, 27 October matinee – ‘you should see it now’ and note in your diary Mary Poppins in June 2025: https://www.mdms.org.au/

Photo credit: Gavin Andrew

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