I went along to MYCO’s production as a bit of a Sweet Charity virgin. I knew some of the songs of course: who has gone through 30 or so years on the planet without hearing Big Spender or Rhythm of Life? Sweet Charity is the story of a ‘girl who wants to be loved’! We know this from scene one where our heroine ends up in a lake, having been pushed there by her boyfriend who makes off with her money. Later when regaling her “colleagues” at the Fandango Dancehall she tells a rather rosey version of the story. As Charity often does when meeting people, it’s a trait that eventually leads to events coming full circle towards the end of the play.
Sweet Charity is an interesting choice for Musical Youth Company of Oxford. I can’t not mention that I did at times find some of the material a little uncomfortable. That is not to say I am a prude, and the idea that our youngsters run around with pure thoughts is naïve in the highest sense, but this a company of 12 to 18 year olds and I feel it offered more to the upper end. However one of the aspects I think the company and Director – Guy Brigg – should take as a compliment is that they actually managed the unsuitability very well, and perhaps we should find the idea of girls selling their ‘time’ uncomfortable.
MYCO is a near 50 strong ensemble of performers, and where Sweet Charity is a little risqué on the material side the number of cameos, smaller roles and larger roles it offers makes it great for such a company. They fill the playhouse stage and some of the highlights of the show involve everyone. The dance at the nightclub about halfway through the first act is incredible. 40 + performers all going for it with gusto, those fabulous 60’s moves came out in abundance and the precision was top notch. Fosse influence for sure, but this is original choreography. Brigg is a strong choreographer and it is unsurprising to learn he'll be back next year.
The lead performances were strong. Kelly Hampson as Charity gave a full and committed performance. She has a good voice but it was her acting that stood out most - a mature, sensitive performance, for which she should be congratulated. She was equalled in every way by Henry Jenkinson as Oskar. For me he gave the performance of the night, this could so easily have been a 2-D shy retiring man but you really believed there was a person underneath the nervous tick, and his voice was the most powerful and assured of the evening. He even dealt well with the very difficult final scene, which I won’t go into for fear of spoilers!
Supporting these two are Fred Cambanakis who also give a strong performance and definitely leaves the audience wanting to see more from his character. Hayley Bater and Laura Chaitow are confident and strong as Charity’s best friends, their characters are feisty and full of attitude that clearly masks true insecurities. The reality is there are too many cameos and supporting roles to mention, but none of them are weak.
The thing that struck me most was the design. While we occasionally lost some front light with the follow spots (surely just an opening night thing) the lighting was evocative of the era and suited well, the use of nearly no set and projection onto a white back cloth worked a treat. It is rare to see such bold and ambitious work from a local company and Brigg and his designers should feel proud and vindicated in their decision.
At times you feel there could be more guts from the singing in the company numbers but I am sure this will come as the confidence of having a performance under your belt can’t be underestimated. Julie Todd’s band were musically tight and created that big band sound with aplomb; and scene changes were slick and professional.
A full house greeted MYCO and they gave them a great show. Congratulations to all involved and if you are mulling over what to see in the theatre this week stop! and go and see Sweet Charity.
Sweet Charity is an interesting choice for Musical Youth Company of Oxford. I can’t not mention that I did at times find some of the material a little uncomfortable. That is not to say I am a prude, and the idea that our youngsters run around with pure thoughts is naïve in the highest sense, but this a company of 12 to 18 year olds and I feel it offered more to the upper end. However one of the aspects I think the company and Director – Guy Brigg – should take as a compliment is that they actually managed the unsuitability very well, and perhaps we should find the idea of girls selling their ‘time’ uncomfortable.
MYCO is a near 50 strong ensemble of performers, and where Sweet Charity is a little risqué on the material side the number of cameos, smaller roles and larger roles it offers makes it great for such a company. They fill the playhouse stage and some of the highlights of the show involve everyone. The dance at the nightclub about halfway through the first act is incredible. 40 + performers all going for it with gusto, those fabulous 60’s moves came out in abundance and the precision was top notch. Fosse influence for sure, but this is original choreography. Brigg is a strong choreographer and it is unsurprising to learn he'll be back next year.
The lead performances were strong. Kelly Hampson as Charity gave a full and committed performance. She has a good voice but it was her acting that stood out most - a mature, sensitive performance, for which she should be congratulated. She was equalled in every way by Henry Jenkinson as Oskar. For me he gave the performance of the night, this could so easily have been a 2-D shy retiring man but you really believed there was a person underneath the nervous tick, and his voice was the most powerful and assured of the evening. He even dealt well with the very difficult final scene, which I won’t go into for fear of spoilers!
Supporting these two are Fred Cambanakis who also give a strong performance and definitely leaves the audience wanting to see more from his character. Hayley Bater and Laura Chaitow are confident and strong as Charity’s best friends, their characters are feisty and full of attitude that clearly masks true insecurities. The reality is there are too many cameos and supporting roles to mention, but none of them are weak.
The thing that struck me most was the design. While we occasionally lost some front light with the follow spots (surely just an opening night thing) the lighting was evocative of the era and suited well, the use of nearly no set and projection onto a white back cloth worked a treat. It is rare to see such bold and ambitious work from a local company and Brigg and his designers should feel proud and vindicated in their decision.
At times you feel there could be more guts from the singing in the company numbers but I am sure this will come as the confidence of having a performance under your belt can’t be underestimated. Julie Todd’s band were musically tight and created that big band sound with aplomb; and scene changes were slick and professional.
A full house greeted MYCO and they gave them a great show. Congratulations to all involved and if you are mulling over what to see in the theatre this week stop! and go and see Sweet Charity.