Review: Sweet Charity
Picture: The Fandango Ballroom Hostesses Image credit: B’rit Creative (NOT a Creative Futures Photography image).
It is always good to have the opportunity to experience much-loved musicals, and I really enjoy the chance to ‘tick’ another piece of musical theatre off the list. Prospero Arts has established itself as a local production organisation that brings semi-staged concert productions, with limited set and staging, to Brisbane mainstages—most recently with a short pre-Christmas run of Sweet Charity in the sizeable QPAC Concert Hall.
If, like me, this is a musical you haven’t seen before, the plot has a simple story arc. Charmingly played by Loren Hunter, Charity Hope Valentine has faith—or at least a lot of hope—that she will meet the love of her life and enjoy at long and happy marriage. Unfortunately, as a ‘dance hall hostess’ at the New York City Fandango Ballroom, Charity is looking for love in the wrong places—falling for men who are more interested in the lifestyle she can provide for them, and short ‘relationships.’ During the show, Charity falls into a lake, meets a film star hero, gets stuck in a lift and on a show ride, and nearly marries—all before walking ‘hopefully’ forward.
Even if you are yet to enjoy Sweet Charity, or have not seen the film of show, it is a musical that has the aura of familiarity. The score includes three well-known hits: ‘Big Spender,’ ‘Rhythm of Life,’ and ‘If My Friends Could See Me Now’; and Bob Fosse’s iconic choreography for ‘The Rich Man’s Frug’, has inspired generations of dancers since the film’s release. Although Sweet Charity premiered in 1966, it is a musical of two halves—lots of 60’s-style songs and dance in the first half, and a second Act that reverts more to a 1950s-style of a more traditional musical.
Sweet Charity is a show that has many solos for the leading lady, making Hunter a good choice for the role of the hapless and optimistic Charity. But there are also opportunities for each of the leading cast members to be briefly in the spotlight. Sean Sinclair (Daddy) warms into the ‘Rhythm of Life,’ but that number should ideally be a showstopper. Jake Speer’s portrayal of Oscar Lindquist is strong, with highlights including the ‘elevator,’ ‘Parachute Jump’ ride, and ‘Chile Hacienda’ comic scenes with Hunter. And Simon Burke gives an excellent portrayal of the lovelorn Vittorio, with a wonderful solo number in the beautifully staged and great fun scene with Hunter.
The three leading Fandango ‘girls’—Kristina McNamara (Nickie), Angelina Thomson (Helene), and Suzanne Steele (Ursula)—make the best of the limited staging and costumes. Having heard the Shirley Bassey version of ‘Big Spender,’ which was a big hit in the late 190s, I hadn’t realised that Big Spender is not a solo number, and enjoyed the number as sung by the Fandango QPAC ‘hostesses.’ The Prospero Arts version is light on staging and costumes, but heavy on cast numbers—including an enthusiastic ensemble (Anthony Garcia, Brandon Dowery, Ella Harding, Julian Seguna, Kye Hall, Leah Lim, Lisa Callingham, Mateja Sardelis, and Sarah Bakker).
The show features an excellent orchestra, who give a faultless performance under the leadership of Musical Director, Michael Tyack. It is great to see the orchestra out of the pit, and centre stage—giving the audience to enjoy the work of the brass section during their ‘Big Spender’ moments. And Director & Choreographer Cameron Mitchell has done a good job with the cast, and limited budget for set and costumes—where I like the use of the video projections above the orchestra, which kept the show moving along, provided the opening credits, and gave hints as to the set changes.
The great thing about a semi-staged production is that there is the opportunity to focus on the talented musicians and vocalists, as Sweet Charity is presented more as a concert, with limited lighting, set, and costumes. Although this gives the audience the opportunity to admire the musicianship and vocal talents of the cast, it probably requires a show that doesn’t depend too heavily on spectacle, big dance numbers and the general ‘oomph’ that major musicals reply on to attract large audiences and command high ticket prices. Unfortunately, Sweet Charity is a show that would be better seen as fully staged.
It is great to see local production companies creating works that give opportunities for our Queensland and Australian artists to shine. Sweet Charity is an enjoyable evening out, but I’d be saving my $100+ ticket money for a show that is fully staged and gives audiences the opportunity to enjoy the full choreography as originally created by Bob Fosse, and more of the full razzamatazz of big costumes and sets. There are many other options for pre-Christmas shows, set in more intimate performance spaces that will give a better audience experience.
Picture: Sweet Charity. Image credit: B’rit Creative (NOT a Creative Futures Photography image).
Audience information: Sweet Charity, Concert Hall, QPAC, Southbank, Brisbane (11-14 December 2025). Tickets: $69-$144 (plus $7.50 transaction fee). 150 minutes, including one interval. Suggested 13+, and note this production contains haze and flashing lights.
Additional Credits: Neil Simon (Book), Cy Coleman (Music) Dorothy Fields (Lyrics)
The reviewer attended the Thursday 11th December 2025 performance (7:00pm).
A version of this review first appeared at Nothing Ever Happens in Brisbane.