gkgiiliiiBlmsDispalrt Thursday, April 27, 1995 •

Cover Story Faith, hope make ‘Sweet Charity’ a classic By Michael C^ossberg truly tenible things happen to her who has worked on more than a It’s also a transitional show, Dvipalch Thcaler C ritic — but .she doe.sn’t give in to it” dozen of Otterbein’s musicals, in­ with 19 scenes fluidly staged in 12 cluding Rig Riirr and Into the locations. Faith. Ii()f)e and cliatity aix? tia- The romantic comefly, al)out a naive dimc-a-dance girl looking for Woods, will lead a 25-meml)er or- liaditionally, many Ixxtk musi­ ditionally considerai giHKi (jualities cals were staged with fieiiuent front- or viiiues. Yet, they bring mastly love, is loosely based on Federico chestia “There’s every rhythm and style cuiiain scenes, to allow the scenery trouble to Cbaiity Hoj)e Valentine. Fellini’s 1957 film Nights of Cabiria to be changed behind the cuitain. That’s the daffy, do\vn-on-her- about a pixistitute with a heail of fin?!! tango and samba to the big- “Simon and both got the luck irony of Smet Cliaritti, the love and a life of sorrow. band jazz feel of the 1940s,” Johnson idea that they wanted to stait blend­ popular Braadway musical alwut a Stefano has directed about 40 said. ing scenes, so that the show' would woman who refuses to give up on shovTO, including The score flow' in a filmlike fashion,” Stefano men despite ample provocation. about half a doz­ produced sev- ■ Otterbein College’s theater and said. “Instead of going to black for “She is her name: Charity Hope en musicals. At dance and music departments will eial hits, includ­ .scene changes or dropping the ciu- Valentine,” said John Stefano, chair­ Otterbein, he present Sweet Charily at 7:,10 to­ ing Rig Sitcndcr, tain, one scene flows into the next, man of Otterlx’in College’s theater .staged Hnhii last night, 8 p.m. Friday and .Saturday, If Mg Friends with the scenery moring behind the and dance depailment. Stefano is .summer and the and 2 p.m. Sunday — and 8 p.m. Could See Me chai'acter.” directing the college’s annual spring May 4-6 — at Cowan Hall, 30 S. Now and There’s acclaimed 1993 Stefano also finds Christian musical, which ojiens tonight on the Grove SL, VVestenille. Tickets cost Gotta Re Some­ revival of Rig .symbolism in the show’s framing Westerville campus. $10.50-$I2.50. Call 823-1109. Rim'. thing Retter scenes; Chaiity Ls throw'n into veater “It’s a little like faith, hope and Why Simet Than This. love from Paul’s Letter to the Corin­ at the beginning, and at the end. Charifu — and why now? “The overall conreption was de- “The fust time she’s tliiown in thians,” Stefano said. “Charity is “Pipfriv was so succes.sftil last vcIoikhI by the entire team,” Stefano somebody who really does believe in the water, a guy walks off with year,” Stefano said. “We’re very .sjiid. “Stella and 1 sat down with the love. Itepite tremendous advereity, everything she owii.s. But at the end pleased with the dance skills of our designer and asked what kind of she manages to maintain hope.” of the play, she gets out of the water students right now and wanted to woiid we wanted to cieate. We de­ Director Bob Fos.se won a Tony by heiself — which Ls very symbolic show them off We thought doing cided our Stveet Chatitg Ls pretty aw'ard for his choreography of the — and tells the audience: ‘Well, at 1966 musical comedy % another musical would gritty, pretty realistic. Definitely least I, didn’t get tattooed again. At New York, with a cynical edge to it (book), (music) and challenge them.” least, I still have my dowi-y. Well, (Ijiics). Choreographer Stella Hiatt — the backdiep against which Char­ maybe things are beginning to look “I think that’s one of the things Kane, w’ho choreographed ity’s hope and optimism play out” up for me.’ that atb-acted Fosse to the piece,” last year, returns as part of Otter- Stefano considers Street Char­ “There’s a kind ^ of giitty opti­ Stefano said. “He suirounded Char­ bein’s seasoned creative team. ity one of the last of the gieat book mism there that in some ways is the ity with a lot of cynici.sm —; some Musical director Craig Johnson, musicals of the 1950s and 1960s. essence of the American spiiit” Friday, April 28, 1995 (Ihf tfoliimhiis Dlspatrii Otterbein presents a seductive ‘Charity’ By Michael Omsberg co-worker accuses Charity of nm- Charity Ls a more substantial and Dispatch neater Critic ning her heart like a hotel: Guys affecting musical, but it is memora­ By Broadway standards, Otter- Theater Review check in (and most act like cock­ ble mainly for F'ossc’s chomigiaphy b(iin College isn’t a . Sweet Charity, Otterbein College roaches) but they always check out and a few of Colemiui's signature Yet, the college’s theater/dance Theatre’s student production of the The bottom line: Smait can act songs. HLs jazzy, catchy scoix; (Big and music departments have gone all musical comedy. Directed by John She was one of two Otterbein stu­ Sjtender, If My Friends ('onld See out on Sitteef Charity, which opened Stefano. Choreographed by Stella dents to be chosen a finalist in Jan­ Me Non), I Late To Cry at Wed­ last night in Cowan Hall. Hiatt Kane. uary in the Irene Ryan Acting Com­ dings) Ls one of Iris best, and tlie cast This Is Otterbein’s biggest musi­ petition at the regional American Charity...... Katherine Smart belts out tlie songs with piziizz. cal production in years, with the College Theatre Festival. 0.scar Lindquist...... Jason Morrissette Fosse added dai’ker undertones largest orchestra (25 solid musicians, Stoong support comes from Ja­ Helene...... Heather McClellan and more than a few seductive expertly led by music director Craig son Morrissette’s nerdy fiance; Bri­ Nickie...... Kathryn Felsenthal slouches to traditionally cheerful John.son) and the most costumes an Fox’s confused, boyish Latin film Vittorio Vidal...... Brian Fox American musical comedy. Kane, (guest designer Jayme Rhoades has star’ and Charity’s cynical dance-hall who choreogi-aphed Pippiti nicely, styled' about 114 — in almost as Hope for hopeless romantics friends (tough, bawdy Heather Mc­ revels in the sexuality and satirical many strip-teasy pastel colors.) Being presented at 8 tonight and Clellan jind Kathiyn Felsenthal). exaggeration of Fosse’s knees-to- Largei; doesn’t always mean Saturday and 2 p.m. Sunday — and 8 Otterbein offere several deftly gether, feet-splayed po.ses. better, of course, but the nimble 37- p.m. May 4-6 — at (Y)wan Hall, 30 S. staged set pieces, from the Rich person cast fills 60 roles with person­ Grove St., Westerville. Man’s Fnig at the black-lighted ality and humor on Rob Johnson’s Tickets cost $10.50-$ 12.50. Call 823- Pompeii Club and the hipster-satiin- remarkably varied set. 1109. cal Rhythm, of Life at Daddy Bni- This creditable student show beck’s beatnik church to the I'm a brings out the funny, gawky charms Brass Band march that biings The and ironies of this second-rank musi­ Music Man to Times Squaixi. foolish but lovable Charity kept the cal comedy, which was adapted from Otterbein brilliantly revived audience laughing and caiing from ’s Nights of Cabiria Fosse’s Pippin last year. Sweet by composer Cy Coleman, lyricist its dunk-in-the-lake start to its Dorothy Fields, author Neil Simon equally wet but more hopeful finish. and choreographer Bob Fosse. , a m^or Broad­ At Otterbein, director John Ste- way star and Fosse’s wife, starred in fano and choreographer Stella Hiatt the New York hit Smart a senior Kane have joined forces to evoke musical-theater ma,jor who played Fosse’s stylized world of cynical the Fool last year in Otterbein’s dance-hall hostesses with hearts of King Lear, is a less seductive Char­ brass and the men who use them. ity than one expects after Verdon or At the center of his glitzy, taw­ Shirley MacLaine (who starred in dry, 1960s-era is a the inferior 1969 film). b(^n of shining purity and inno­ Yet, her ugly-duckling-who- cence; Charity Hope Valentine, the thinks-she’s-about-to-become-a- last of the red-hot losers. swan approach w’orks effectively to At Wednesday’s packed student wring the pathos and amusing per­ preview, Katherine Smart’s plucky. versity finm her hard-luck role. 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The Other Paper, May 4 -10,1995 13 'Sweet Charity’ sings with talent Charity Hope Valentine’s “fickle your wings ’cause we’re stuck here in the the play together. finger of fate” touched senior Kather­ flypaper of life.” The orchestra provides the perfectmu- ine Smart. Felsenthal and McClellan ground the sical backdrop fw important numbers like Smart plays the title role in the play with their wit, while Charity carries “Big Spender” and “If My Friends Could musical, “Sweet Charity.” The part it off to the clouds with her dreams. See Me Now.” was seemingly made for the baby- Senior Brian Fox professionally pulls The hanging screens which introduced blond, starry blue-eyed actress from off the smooth, careless grace of Vittorio the action in some scenes proves the inge­ Marion, Ohio. It is by far her most . His fickle fiancee, played by junior Cara nuity of the technical crew. Details such challenging and most successful role Miller, foils his weakness. The two are as this make the production special. at Otterbein. “Sweet Charity” follows in the tradi­ Smart delivers humor that gets real tion of great musicals at Otterbein. It is laughs, and she can sing—oh, can she simply well-done. The only flaw with the sing. She makes every minute of the production might be the rather abrupt three-hour long production entertain­ Critic’s Katrina ending. ing. Corner Seymour In the end. Charity learns that there is However, the talented crews create no easy way out of the dance-hall; that the perfect stage for their star. The nobody can rescue her and no fairy god­ sleezy Fan-Dango ballroom in New mother can wish her away. Smart seemed York City is complete with a massive tired and failed to do justice to “Sweet overhead light display and impres­ crowd favorites, judging from theai^lause Charity’s” conclusion, rushing her through sively-choreographed numbers they received at the end of the show. the motions of disappointment, depres­ performed by sequined dancers. The costume crew has their hands full sion, and, finally, determination. Sophomore Kathryn Felsenthal with an almost a 20-member ensemble to However, this is forgiveable consider­ (Nickie) andjunior Heather McClellan organize for change after change in the ing her otherwise spectacular, funny, en­ (Helene) touch the ballroom scenes 19-scene production. The ensemble itself dearing performance. with cynical humor. Nickie tells Char­ deserves commendation for its role in the See “Sweet Charity” before Smart ity in one scene, “Ain’t no use flappin’ production. They are the glue that holds moves on to bigger and brighter things.