I saw Allen in the role and remember her as being this incredibly tireless, energetic little dynamo on stage -- the sheer amount of energy she expended with all of those countless high kicks and spins was stunning to watch. She was an alternately sassy and kooky Charity -- she didn't hard sell the character's vulnerability and you always had a sense that ultimately she could take care of herself if she had to (she was more a person who made dumb choices than the girl with her heart perpetually on her sleeve). Her singing voice was rather thin, though, especially next to the stronger and harder edged vocals of Neuwirth and Allison Williams. I seem to remember the settings often being rather minimal with Fosse using as much of the vast, uncluttered expanse of the stage as he could to show off his dazzling choreography. The production was most memorable for the comedic performances of Neuwirth and Rupert and the virtuouso dancing from Allen and the ensemble. The entire experience was truly in a completely different class from the recent flat-footed and misbegotten revival by Cilento with Applegate.
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The mid to late '80s were especially dire for new American musicals. Sweet Charity was never considered a truly top-tier musical, but compared to the likes of Big River, Grind, Leader of the Pack, and even Fosse's own Big Deal, the '86 revival looked like pure gold.
Allen was razor-sharp in her dancing, but I thought she was also a pretty nifty comedienne. It's too bad she's considered a punch line these days, because between her stand-out Anita in the 1980 West Side Story, and her Charity, she was really something to see back then.
Begin at the beginning and go on till you come to the end: then stop.
I have to admit endless years of Fame and clips of her choreography for Academy Awards bits, Carrie etc always made me underestimate Debbie's talent--and then I saw that clip of her Anita from West Side Story. OOOH boy--WOW.
I believe the movie cut the SOliloquy (which I love too) because Personal Property replaced it? Wait... maybe not... I agree it's a charming piece--but musically Charity is just so brilliant regardless (I also thinkt he failure of the recent production proves that this is one of those shows that is so combined with its original staging and choreography that it's pretty hard to replace that, especially if you do it half assed and still do it as a sorta light Fosse tribute liek they tried. Fosse was involved with every step of the writing process--it's almos tlike doing Chorus Line without any of the Bennett bits or WSS sans any Robbins).
For the film, "My Personal Property" replaced "You Should See Yourself". "Charity's Soliloquy" took place in the Fan Dango Ballroom dressing room and lead into the exterior of the Pompeii Club fight scene between Vittorio and Ursula -- it wasn't Charity's first song/number.
Okay...and since you're ALL twisting my arm (and pointing that loaded revolver to my forehead), I'll be posting on that unmentionable site, footage of Donna McKechnie in the 1987 National Tour of SWEET CHARITY, and some great rehearsal footage of Gwen refreshing Debbie's memory with the "If My Friends Could See Me Now" choreography for that 1998 Actor's Fund Benefit Concert.
Hopefully some scene transitions from Bob Fosse's 80's revival makes it into the footage so you can see it.
I saw the Debbie Allen revival as well and loved it.
I was surprised at how much I was impressed with Debbie. She was still "Miss Fame" back then, and I thought she would be too "diva" in the part. I was wrong, and pleasantly surprised.
She was charming, her acting (both dramatic and comedic) were solid, and her dancing was sensational. I thought her singing was fine. Certainly as good as Verdon's. Bebe and Allyson (on the other hand) sang flat on most of their material (which you can hear on the cast recording, but was even worse live). Still they were great in their parts. Michael Rupert was fantastic as Oscar, and well deserved his Tony win.
I remember the show being "stopped" several times: Big Spender, Rich Man's Frug, Rhythm of Life and I'm a Brass Band ALL got applause throughout their numbers, not just at the end.
A very exciting show, overall, and sadly, Fosse's last on Broadway.
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I agree that Debbie Allen was really terrific in "Sweet Charity." I saw it several times with her and she always surprised me at how great she was in this role. She and Michael Rupert had fantastic chemistry.
I saw Debbie Allen as Charity as well, and have to agree ... she was excellent. Quirky and kooky as Charity, and what an explosive dancer ... Brass Band was one of the most exciting dance numbers I've ever seen .. Debbie seemed to fly across the stage. She was absolutely mesmerizing to watch. And Bebe was a brilliant Nikki. This production was so far superior to the lackluster production with Applegate, whose dancing, if you can call it that, was pretty much non-existent.
She was hard and tough - not "spitting nails" tough like Neuwirth, but not vulnerable enough to make me believe that she had the "heart of gold" quaility that makes Charity sympatheic.
I saw this on the 4th of July in fact. She was ok, definately didn't adapt to the fosse style at all. As someone mentioned she was a very likeable Charity, but other than that she was pretty unremarkable.
The whole production was professional without being exciting in any way. But you know for a half price ticket back in the 80's with a bunch of friends it was a nice way to spend the evening.
I cannot in any way be objective about this revival. It was the first Broadway show I'd ever seen. My parents took me for my 12th birthday...5th row center. I sat there, astonished by what I was seeing. I still never forget how a relatively barren stage became peopled with hippies crawling on their knees, buts and whatever else during RHYTHM OF LIFE. The 12-year-old me was transfixed by every aspect of it.
But, in one fell swoop, Michael Rupert made me realize I'd never marry a woman and that there was nothing else I wanted to do but be on a Broadway stage.
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saw it...LOVED it! Loved Debbie, and thought she was at least as good as Bernadette who took the Tony that year for S&D. I dont remember her voice being too thin at all...her dancing was astounding!
Michael was utterly charming as Oscar...and I've always loved the film version of the title song.
Bebe was a riot, and the hightlight was "There's Gotta Be..." I dont think I've ever seen three women jump like that.
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Pre conceived ideas of an actor in a part can be very surpising.
I saw Gwen Verdon in the original Charity and thought that no one... no one else could ever do that role. I was 10 and in love. I saw a few other productions but no one held a candle to Gwen Verdon. Until....
I went to the Debbie Allen revival thinking she was too stong to play Charity but Debbie Allen proved quite the actress-entertainer- dancer in the part. It absolutely worked. I remember Bob and Gwen discussing how are we gonna make this tough broad (Debbie) vulnerable and sweet? Somehow they did; she did and it was definitely a triumphant Charity.
I went back to see Anne Reinking in the role I anticipated nothing but shear joy with Reinking in the role. I was a fan of Reinking witnessing Pippin, Over Here, Goodtime Charlie and the movie All That Jazz. The result was a cartoon abortion of Chartiy Hope Valentine in a ridiculous blonde wig. It was appallingly bad, appalingly unbelievable and I left at intermission. It was honestly one of the low points in musical theatre. Amazing how one misquided actor can ruin a musical.
Being a glutton for punishment, I have also witnessed other Charities over the years, At the advanced age of 12, I dragged my parents to see Gretchen Wyler in Sweet Charity. That was total miscasting as Wyler was neither vulnerable nor up to the dancing demands of the part. She was 100% push; 0% charm; 0% vulnerability. After witnessing her braggadocio and rather large ego in the film Broadway-the Golden Years, I see why she was so miscast. Wyler needed to play bitchy agresssive parts and nothing else.
Another major surprise of pre-concieved notions was Tyne Daly in Gypsy. I thought how can a non singing TV star do anything with Mama Rose. Boy was I wrong. She totally blew the roof off the role and I was rooting for this character liked I hadn't routed in the theatre since Gwen's Charity.
I don't know how Applegate or Ringwald faired but I wasn't feeling masochistic those years, so I opted out. Althought, I find the Applegate recording charming.
So much for preconcieved notions. An actor is only as good as his current role.
I saw both Debbie and Bebe play Charity. I remember being all huffy that neither of them was "vulnerable" enough. But in retrospect--having seen the Applegate embarrassment--it was a thrillingly staged revival, although it was still too close to the 1960s for it to feel "retro." The taxi-dancer concept and the "Mod" stuff seemed dated.
But several of the 1950s-60s revivals felt dated during thta period: Debbie's West Side Story (in which she was excellent as Anita), the Cabaret revival, Patti LuPone's Oliver...
Bebe's physicality was more Fosse, but Debbie was a better actress. If only I had known how much worse the show would seem with Applegate, I would have appreciated them more as great dancers who could act.
Love reading these thoughts. Man I wish someone would (as against the point as this is I know) restage a Fosse show with his original staging and tour it nowadays--if THIS were the current Sweet Charity tour I'd literally travela long distance to catch it--but of course a huge part of my love of musical theatre is a fascination with the great classic productions, etc (I do get the argument that shows shoudl be re-iinterpretated, etc, and I think usually there's room for both though I think Charity is one of those shows SOO connected to its original staging, it doesn't work otherwise. I just saw on Youtube the revivals take on Rich Man's Frug... WTF? Though even a more talented choreographer than Wayne would have trouble restagining such an iconic dance).
The fact that ANYONE would think Anne Reinking would work as Charity though is something...
Uh-oh...seems I got inspired and posted an enslaught of clips on that unmentionable site. Clips of Donna in the 1987 National Tour of SWEET CHARITY. Gwen coaching Debbie Allen for the 1998 BCEFA Benefit Concert. Chita and Gwen doing the "Hot Honey Rag" IN 1975! Oh, there's quite a bit on there.
"But in retrospect--having seen the Applegate embarrassment--it was a thrillingly staged revival, although it was still too close to the 1960s for it to feel "retro." The taxi-dancer concept and the "Mod" stuff seemed dated. "
To be fair the taxi dancer stuff, as many critics pointed out, was very dated in 1966=67 as well