|
When you consider all the things that must go right for a large musical production to be successful, it's a wonder that anyone, at least on the community level, even tries. Everything is just so big, from the lavish costumes and unwieldy cast to the ever-changing sets and the oft-ignored, but oh-so-important, orchestra. There's a sea of choreography to consider, numerous songs to be sung and, hopefully through the razzle-dazzle, a little acting going on. Ottawa's Orpheus Musical Theatre Society came pretty darn close to nailing it all down at Centrepointe Theatre on Friday night, as they opened their season with Sweet Charity, Neil Simon's light tale of a New York dancehall "hostess" in search of true love. "There ain't no use flapping your wings," advises one of Charity's co-workers, "because we're caught in the flypaper of life." Yet the ever-optimistic Charity Hope Valentine insists otherwise and, despite one disappointment after another, continues to lap up the eternal springs of her middle name. As far as Orpheus' show went, it should be noted that none of the men in the cast, at least not those charged with the task, possessed the pipes for this production, and the thinness and lack of range from that side of the gender gap was clearly noticeable Friday. So, too, did Orpheus' insistence on using microphones hamper the play's flow, as feedback and static occasionally forced some unwanted distance between the audience and stage. But those aside, everything went swimmingly for director Shaun Toohey. Nicole Milne's performance in the title role was effervescent and engaging, as she perfectly rode the no-man's land between innocence and experience, and sang, danced and acted her way into the hearts of the audience. Her renditions of You Should See Yourself and If My Friends Could See Me Now, for example, were particularly spirited. Nor was she the only one taking the thespian side seriously. Chad Wardman's portrayal of Charity's earnest beau, Oscar Lindquist, was convincing, while John Collins brought a likeable seediness to the role of Herman, the dancehall owner. On more than one occasion, meanwhile, Charity's co-workers and members of the chorus came perilously close to stealing the show with their sharp lines and wonderfully nuanced moves. Choreographer Debbie Kaplan deserves great praise for the eye-catching dance numbers, and particularly the three-song Rich Man's Frug medley performed in the Pompeii Club. Despite Sweet Charity's length (almost three hours), the play moves briskly, supported by a well-paced story line, enough humorous scenes (Charity stuck in an elevator with Lindquist, Charity stuck on a Coney Island ride with Lindquist, Charity trapped in movie actor Vittorio Vidal's bedroom closet) and just enough of a rough edge to keep Simon's perennial saccharine injections from oozing too much. Sweet Charity continues at Centrepointe Theatre, 101 Centrepointe Dr., until Nov. 22. Tickets for the 8 p.m. shows are $18 and $22 each ($2 less for seniors), and are available at the box office, or by calling 580-2700. |