CHICAGO—She gets pushed into a lake, her purse is stolen, she has an embarrassing encounter with a famous film star, and gets stuck in an elevator. With so many mishaps you would think that the story of this woman—Charity Hope Valentine—would be a tragedy. But with a book by comic genius Neil Simon, it’s the stuff of an engaging and charming comedy.
It’s not only the laughs, though, that makes “Sweet Charity” such a delight. Credit goes to its effervescent songbook by Cy Coleman with witty lyrics by Dorothy Fields, and the inimitable and fantastic jazzy choreography, which legendary choreographer Bob Fosse created.
The musical about Charity, a hopeless dance hostess in New York City, premiered in 1966 on Broadway and won the Tony Award for Best Choreography. Now, in an exorbitant revival by Branch Theatre in Chicago, the show, which was one of the musical gems from the Golden Age of Broadway musicals, is impressive and inspirational.
Once upon a time, a sentimental show about a woman down on her luck with a heart of gold was a popular plot idea. Not so much anymore in our cynical age, which is why “Sweet Charity” is a nostalgic treasure. Here, we have a woman who responds to difficulties from the “fickle finger of fate”—a phrase that Charity uses often—not by shutting herself off from the world or by becoming bitter, but by responding with faith, hope, and … you guessed it.
When Charlie, her date, pushes her into the lake, she convinces herself that he was trying to save her. When she gets stuck in a broken elevator with frightened tax accountant Oscar Lindquist, she helps him overcome his claustrophobia. And she gives so much to beggars on the street corner that she soon runs out of money.
Empathetic Charity is a giver of her time, her money, and her unquestioning love. Ever the dreamer, she tries again and again to make something of herself and to find what her fellow dancers believe to be elusive romance.
The Production
The show unfolds with cheerful lighting design (by Ellie Humphrys) and costuming (by Cindy Moon) and maximal use of its intimate stage by scenic designer Amy Gillman. Well directed by Johanna McKenzie Miller, each performer shines. In addition, the action is emphasized with some humorous signs actors carry letting us know what’s going on. They also move the action along.
It’s not easy to find performers who can act, sing, as well as dance, especially hoofers who can razzle-dazzle to Lauryn Schmelzer’s spirited choreography. It’s revived from the original Fosse’s movements. The main cast of 14 does it all and makes it look easier than it really is. When the ensemble comes together, the show reminds one of the old Hollywood-style spectaculars, but it’s some of the terrific portrayals that are at the heart of this sweet show.
Teah Kiang Mirabelli as Charity is a triple-threat artist whose fluid movement and fancy footwork makes her a standout. One can’t help but appreciate her adorable smiles and her optimism in the face of disaster. Dustin Rothbart garners our sympathy as the unsophisticated, down-to-earth, shy Oscar; and Eldon Warner Soriano is believable as the narcissistic movie star.
Kudos also go to Kelcy Taylor as Nickie and India Huy as Helene, who play Charity’s fellow dancers. In addition, other members of the ensemble that enhance the show include Damondre Green, Patty Roache, and Daniel Hurst.
Last, but definitely not least, the songs, such as “Big Spender,” “If My Friends Could See Me Now,” and “There’s Gotta Be Something Better Than This” are big reasons for the show’s long-lasting popularity. Indeed, the five-piece orchestra, led by musical director Aaron Kaplan, does a great job with the great songs.
One way to tell whether a musical is good or not is if the songs are memorable. In the case of “Sweet Charity,” members of the audience were heard singing “Big Spender” as they sashayed out of their seats. That’s entertainment!
‘Sweet Charity’
Blank Theatre Company at the Greenhouse Theater Center
2257 N. Lincoln Ave., Chicago
Tickets: 773-404-7336 or BlankTheatreCompany.org
Running Time: 2 hours, 30 minutes (one intermission)
Closes: June 8, 2025
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