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Review by Nick Pilgrim
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Chapel off Chapel, Prahran
Reviewed on Friday June 19, 2026
Reviewed on Friday June 19, 2026
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When I was offered the chance to review Sweet Charity (1966), I literally jumped at the chance. Along with Mame (1966), Hello Dolly (1964) and Gypsy (1959), this is one of the biggest and best final offerings from Broadway’s Golden Age.
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Based on the 1957 Italian motion picture comedy-drama, Nights of Cabiria (with story and direction by Federico Fellini), Sweet Charity celebrates the eternal underdog. With its hit-laden score by Cy Coleman and Dorothy Fields, gripping book by Neil Simon, and iconic choreography from Bob Fosse, the show was an immediate box office smash.
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Along with Mama Rose, Dolly Levi and Mame Dennis, Charity Hope Valentine is one of the most coveted roles on the musical theatre stage. Infused with equal doses of humour and heartbreak, the story’s lead is your classic eternal optimist.
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Notable stars to have played the role include its originator Gwen Verdon (1966), Shirley MacLaine (in the 1969 motion picture), Christina Applegate (2005 Broadway revival), and our own Nancye Hayes (1967 Australian premiere), Kelly Abbey (1997 Australian revival) and Verity Hunt-Ballard (2014).
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In short, such top-drawer casting reinforces how its protagonist demands a triple threat with the innate emotional range to take audiences everywhere.
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Located in Melbourne’s inner south-east, Chapel off Chapel is one of the city’s most known and beloved independent live performance spaces.
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In its 30-year history, the multi-purpose venue has played host to critically acclaimed works including Everybody Loves Lucy, Freaky Friday, Guilty Pleasures and Memphis.
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What each of the above-mentioned examples used to their advantage was the ability to reconfigure large-scale shows suitable to Chapel off Chapel’s more intimate dimensions. The same could be said of this sparkling collaboration between Heirlume Productions and the Forest Collective. Perhaps the biggest bonus is how viewers can appreciate every interaction and facial expression at close range.
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Entering the theatre space, viewers are met by the show’s impressive two-story scaffold. Designed by Ruben Laine, his multi-functional prop-laden set, lighting and production design immediately communicates a time when New York City and Times Square were gritty, dangerous and falling into disrepair.
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(On this basis alone, I was reminded of a similarly outstanding West End fringe production of The Life (2017) performed at the Southwark Playhouse in London.)
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The effect is completed by stainless steel fencing attached to caster wheels shifted by cast members at various intervals, shaping both scenes and the floor area during the story’s telling.
Told in two hour-long acts, this is Broadway in its most traditional sense.
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For anyone familiar with Sweet Charity, this intelligent construction choice becomes clear in famous show-stopping numbers such as ‘Big Spender’. Instead of using the Fandango Ballroom’s ballet barre front and centre, the cast poses and pouts from the upper level instead. This tonal shift gives its dancers unexpected power by glaring down on the audience instead of in their direct eyeline.
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In short, Heirlume Productions and Forest Collective have built a production with pin-point attention to detail.
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Hooking viewers from the very first note, Madison Lee directs this boutique vision with clarity and purpose. In Lee’s care and supported by Samara Louise’s unobtrusive stage management, allows Sweet Charity’s telling to flow with ease from one segment to the next.
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Lee’s understanding of pacing, milking every comic moment and dramatic interlude to maximum effect, maintains audience interest for its full running time. That they have infused Sweet Charity with Stonewall adjacent undertones, adds a fresh, survivalist dimension to its overall narrative.
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Supported by Jesse Matthews sharp and considered choreography, I was impressed by how much energy, complexity and dynamic interest they marked onto such a tiny footprint. Beyond the above-mentioned ‘Big Spender’, other standout ensemble set pieces included ‘The Rich Man’s Frug’ (featuring Tyler-Rose Shattock), ‘There’s Gotta Be Something Better Than This’, and ‘The Rhythm of Life’.
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Evan J Lawson and Max Kielly (Musical Co-Directors) front the five-piece band featuring Tom English (on woodwind), Bodhi Scott-Jones (trumpet), Felix Gilour (percussion), Benjamin Lamb (guitar) and Ian Crossfield (electric and upright bass). That this disciplined grouping exudes big band vibrance for such a small ensemble, may be credited to their own ability in combination with Lucas Battey’s balanced sound design.
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The production’s reliance on physical interaction was expertly supported by Intimacy Coordinator Annabelle Tudor, whose contribution added emotional authenticity and depth to several key episodes.
Zachary Dixon’s lavish swinging sixties tribute costuming takes on the dual responsibility of building era-specific mood, while helping viewers distinguish between Sweet Charity’s many supporting characters. Given that the ten-strong troupe of performers play multiple roles throughout the story makes Dixon’s designs key to the show’s overall understanding.
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The decision to cast nine women and one man to tell Sweet Charity’s story, reminded me of notable local and international professional experiences such as Broadway Backwards, Company, Pippin, and Twisted Broadway which incorporated gender-based role reversal.
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Like the all-male dance company, Les Ballets Trockadero de Monte Carlo (whose selling point casts men in parts usually danced by females), after quickly getting past the novelty value of several members in roles traditionally played by men, I was able to concentrate on the sheer talent in front of me.
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The show’s many highlights included:
- Sarahlouise Younger as Big Daddy and Herman. To the uninitiated, Younger has a serious set of pipes to rival Casey Donavon and Caroline O’Connor. Fronting ‘The Rhythm of Life’ and ‘I Love To Cry At Weddings’ not only showcased the actor’s versatile stage presence, but both tunes were also absolute showstoppers.
- Alessandra Negro as Ursula March, the hot-blooded girlfriend of movie star, Vittorio Vidal. Making the most of her cameo, Negro is an absolute riot.
- Bridie Erwin-Keirl as Rosie, the baby-faced newcomer to the Fandango clan.
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As Helene (Hannah Gutierrez Canon) and Nickie (Madeline Pratt), both actors gave their working and personal friendships with Charity legitimate chemistry. You truly believe the trio’s shared plight to get up, get out and live it.
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Clancy Enchelmaier does considerable heavy lifting as Vittorio Vidal and Oscar Lindquist. It is quite staggering how differently he acts, speaks and sings two such vastly opposing humans. Like polemic sides to the one coin, his Vittorio has a cocky confidence in direct contrast to Oscar’s walking ball of neurosis.
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Erica Wild is Charity. There is no other word to describe it. Making every second on stage count, her nuanced performance will break your heart.
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Wild’s rich belt was used to great effect in ‘If My Friends Could See Me Now’, ‘I’m The Greatest Individual’ and ‘I’m A Brass Band’. Reminding me of Debra Messing and Megan Hilty combined, her lived-in take is unforgettable.
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Special mention to Eden Holes (as Carman) and Lisa Marie Coad (as Betsy) who round out the ten-strong ensemble.
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Playing for a strictly limited season until Sunday June 28, I look forward to Heirlume Production’s and Forest Collective’s next collaboration with fervent interest.
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Catch this breathtaking, live-wire tribute while you can.
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For tickets: https://chapeloffchapel.com.au/show/sweet-charity/
