Fans of director/choreographer Bob Fosse's rather unsung screen version of "Sweet Charity" -- specifically those who've never seen the musical on stage -- may be slightly gratified, if not majorly disappointed, to finally realize how much better the movie is anyway. Among other things, it was shorn of no fewer than six songs in the transition from Broadway to Hollywood, and with good reason, too: Those that aren't somewhat redundant ("Baby Dream Your Dream") are totally superfluous ("Too Many Tomorrows").
Aurora Theatre's current production of "Sweet Charity" is described as a "chamber" piece, in the sense that it pares down the show and otherwise cuts corners with regard to design and casting. Instead of using set pieces to indicate an elevator or a closet, director Sean Daniels (a co-founder and former artistic director of Dad's Garage) simply shines a light on the floor and positions the characters within it.
Instead of an ensemble of 20 or 30 actors, he limits himself to nine. Trent Blanton, for example, portrays all three of the potential love interests in the story, competently enough. (Call it nitpicking, but Daniels even skimps on the makeup. While our perky heroine still mentions having a tattoo on her arm -- a pivotal detail, at least in the movie -- later, a sleeveless dress reveals absolutely nothing.)
Unfortunately, perhaps, what hasn't been sacrificed are any of those half-dozen extraneous songs (music by Cy Coleman, lyrics by Dorothy Fields). With as many musicians in the band as there are singers in the cast, the more memorable numbers are exuberantly performed just the same, under the music direction of Ann-Carol Pence: "Big Spender," "If My Friends Could See Me Now," "There's Gotta be Something Better Than This," "I'm a Brass Band," etc.
The script (adapted by Neil Simon from the Federico Fellini film "Nights of Cabiria") takes place amid the trippy nightlife of New York City circa 1966. Although John Thigpen's scenic design is virtually irrelevant, given the minimized dictates of this Aurora rendition, Joanna Schmink evokes a perfectly fitting tone and flair with her colorful period costumes.
The plot follows Charity Hope Valentine, a self-professed "social consultant" (read, dance-hall hostess) (read, possible hooker with a heart of gold), as she dreams of a greater purpose in life, finding true love with the right guy and living happily ever after. Here, whether the blame belongs to Daniels or to leading lady Rebecca Simon, the role has been fatally miscalculated, stripped of all its poignant vulnerability and quiet desperation, less world-weary or soul-searching than sassy and oblivious.
Based on her opening-night performance, Simon is rarely as focused as when she stands center stage belting out her big solos. To be playing a character that's "always looking for an emotional experience," the actress seems woefully ill-equipped to provide much of the heartfelt nuance the part demands and deserves. (Frankly, it only adds insult to injury that she's from out of town, when there are plenty of qualified local talents who surely could've done more.)
As a result, this "Charity" isn't exactly sour but it's certainly bittersweet.
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THEATER REVIEW
"Sweet Charity"
Grade: C
Through Sept. 2. 8 p.m. Wednesdays-Saturdays; 2:30 p.m. Saturdays-Sundays; 10 a.m. Wednesdays (Aug. 22 and 29). $16-$35. Aurora Theatre, 128 Pike St., Lawrenceville. 678-226-6222. auroratheatre.com.
Bottom line: A scaled back "chamber" piece mostly marred by an emotionally hollow lead performance.
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