Hornsby Musical Society: Sweet Charity - Review by Daniel Conway
- danielconway0
- May 21
- 3 min read
I have never said "hey, that is where that song is from" more than seeing Hornsby Musical Society's production of Sweet Charity. Numbers like Big Spender and If My Friends Could See Me Now have transcended the show, and so often people encounter them removed from their original context. Normally when this happens, seeing the show makes the song richer and often makes more sense; however, if I am honest, I really dislike Sweet Charity. On paper it has some good songs, great music, and a strong vehicle for a leading actress to hold a show in a way often not seen. The problem is the book, which I think is genuinely weak and drags. I always like to front-load my reservations when I don't like the show itself, so I can make it clear that my review is always going to be about the choices made by a cast and crew, and my opinion on the production. Which is why, despite not loving the show, I really thoroughly enjoyed the production staged by Hornsby Musical Society.
Lauren Oxenham is a multi-hyphen force behind this production. The director-choreographer-production designer clearly went into the show wanting to swing big. This is most evident when you look at the set, which is an early favourite for my end of year awards — a large Mondrian-style artwork where black squares become spaces on a riser, with parts that open up or pull out. I thought it was a really dynamic choice that allowed for some inventive staging. I personally am tired of projections, so to see a physical set with such intentionality was quite a treat. Working with assistant Ethan Beattie, Oxenham drew on the style and aesthetic of Fosse to create interesting shapes on stage with the ensemble in the large numbers. Music Director Aiden Smith worked his magic with the cast as always, with every harmony sounding wonderful.
Sweet Charity, as I said, revolves around Charity in a way that women so rarely get, particularly in older shows, and as such you need a star to anchor the whole thing. I have heard nothing but wonderful things about the performance of Victoria Alfieris; however, I had the absolute pleasure of seeing Asha Perry in the role. Hornsby Musical Society often double-casts roles, giving an alternate the chance to shine, and how lucky they must be to have two very talented women to play Charity. Perry brings to the stage an exuberance and joy that is infectious. Charity is a Pollyanna, a perpetual optimist, and as such could easily become cloying and frustrating in the hands of a lesser performer — Perry is not a lesser performer. She is funny and charming with a beautiful voice and really held the audience's attention in the dance numbers. Opposite her was Logan McArthur as the love interest Oscar. This is a fault of the book, but Oscar doesn't come into the story until the very end of the first act, and so we do not get a great deal of time to get to know him or establish the relationship. McArthur rose to the occasion, making Oscar likable in his neurotic rambling and really matching Perry's energy.
Sarah Paull and Charlie Wrublewski are delightfully camp as Nickie and Helene. Both women take the lead in Big Spender and have tremendous voices and can dance up a storm. They have such a natural friend chemistry that felt lived-in, and their scenes with Charity are some of the best parts of the show. There are also a number of smaller supporting roles that stand out. Max Waterson plays Vittorio Vidal wonderfully — charming, warm and suave — and Sam Byres as Daddy Brubeck is hilarious in what is a truly bizarre and fun number.
Hornsby Musical Society is an embarrassment of riches: great cast, great crew, big vision — but they can't change my mind on this show, no matter how good the production is, and it is. This is the best of community theatre, full of so much heart and joy.
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