★★★★ by Ifan Llewelyn
A musical revival can sometimes feel like dragging gran out at Christmas. She’s been around a few times already, but by now she’s showing her age and can’t keep up with the conversation at over the dinner table, voicing the odd problematic opinion that has you moving swiftly on to talking about something else. Sweet Charity has its problems, from productions presenting a candy-sweet vision of life as a woman selling her body to, with the abuse and neglect getting coated in a dazzling veneer of shift dresses and bold new wave hairstyles. That is not the case here. Josie Rourke’s vision is one that takes a make-up wipe to the musical’s face, revealing the wrinkles, blemishes and scars that lie beneath.
Firmly sinking its three-inch heels inside the musical theatre canon, Sweet Charity tells the story of a down on her luck New York taxi dancer (a dancer paid to dance with men) as she copes with yet another man taking her before making a swift getaway. Despite it being her eighth year working as a dancer, Charity Hope Valentine lives up to her middle name by never giving up on her dreams of falling in love and escaping from her drab life. As Charity, Anne-Marie Duff is simply irresistible. From her cock-eyed optimism to her battered enthusiasm, she holds nothing back as she takes on her dark underworld with an ounce of misplaced enthusiasm and determination. Her Charity is one who throws herself into the tide of life but all too often washes up on a littered shore. Tackling the title role’s big musical numbers, her ability to tell a story comes through, even if it is to the detriment of her tonality. She’d dedicated to living the songs as opposed to singing them.
Set in a silver rendition of Andy Warhol’s infamous Factory, Robert Jones gives this production a rough-edged industrial look while reinforcing an artistic significance. His references are clear, with a Brechtian flavour that elevates this production from your all singing, all dancing musical production. Every scene brings with it a catalogue of references, from Brillo boxes to the American flag, though pausing to ponder his choices can become distracting.
Charity’s supporting company have a potent interplay that outshines the countless costume changes, wigs and set re-shuffling. Each scene feels like an exciting new venture that they dedicate themselves to, with Charlotte Jaconelli giving an impressively pliable performance. When dancing together, Wayne McGregor’s adaptation of the Fosse choreography isn’t quite as successful as the production’s dramatic scenes. They’re interesting enough to sustain interest during musical interludes, yet perhaps not for the right reasons as the odd dancer moves out of sync.
This is an important production in articulating exactly what liberties can be taken with a musical revival. With Company and Follies dominating the West End, one can admire the bravery in the choices made in this production. Yes, the staging is a sharp departure from the musical’s past productions, but more importantly, Anne-Marie Duff’s portrayal of the titular character is a real study of the humanity that can exist in these productions.
Sweet Charity is running at the Donmar Warehouse, Seven Dials WC2H 9LX until the 8th of June. Tickets available at DonmarWarehouse.com.
