Review: Sweet Charity by Leatherhead Operatic Society (LOS)

By dmorris

Sweet Charity

Leatherhead Operatic Society (LOS)

The Leatherhead Theatre

Reviewed by Tony Flook

Few productions bring together all the elements as cohesively as did Leatherhead Operatic Society's (LOS) presentation of this upbeat musical comedy, directed by Sally Jones.

It would be difficult to fault the choreography, dancing, singing, acting or orchestral input and, crucially, the way they coalesced so satisfyingly.

Sweet Charity revolves totally round the title character, dance hall hostess Charity Hope Valentine. Amy Putt showed the meaning of each of her three names – her compassion despite seemingly being misused by every man she falls for, her eternal optimism and her capacity to continuously expect to find love.

She hit the right mood for all her numbers, whether the rousing I'm A Brass Band or tentative I'm The Bravest Individual. It was a performance to savour throughout.

She was more than ably supported – and counterbalanced - by Laura Meyers as Helene and Monica Wallis as Nickie who showed the cynicism of women who realise that they are trapped in their jobs at the Fan Dango Ballroom, despite asserting There's Gotta Be Something Better and later wistfully urging Charity to Baby Dream Your Dream.

Neurotic Oscar Lindquist seems to offer an escape route but Danny Willis's interpretation touchingly showed that even he could not be relied on. The scene in which Oscar broke with Charity because he would not be able to overlook her promiscuous past was exquisitely handled.

Lee Power had the ideal looks and attitude, tinged with a subtle touch of vulnerability when he let his guard slip, to portray fading film star Vittorio Vidal. His interaction with Charity brought zest to If My Friends Could See Me Now. The scene in his apartment would have carried more impact had it featured a bed as large as such a man would surely have.

Vicki Stanbury was ideally cast as Ursula, Vittorio's unpredictable alternately glacial and fiery girlfriend.

James Turnbull carried authority as Herman, the hard headed ballroom proprietor who unexpectedly confessed I Love To Cry At Weddings.

Dilip Patel's Daddy Brubeck and his psychedelically dressed followers delivered a punchy Rhythm Of Life.

Aimee Clark, with her striking arm and hand movements, led a large team of bored-looking socialites as they stalked around the Pompeii Club to Rich Man's Frug in one of Lea Stock's memorable routines.

Here was West End quality entertainment brought right to our doorstep.