Book by Neil Simon; Music by Cy Coleman: Lyrics by Dorothy Fields: Based on an original screenplay by Federico Fellini, Tullio Peneili and Ennio Fialano
Produced for the Broadway stage by Fryer, Carr and Harris; Conceived, staged and choreographed by Bob Fosse
Palace Theatre, Broadway - January 29, 1966 (608 perfs)
Prince of Wales Theatre, London - 11 October, 1967
Sweet Charity is a tender, poignant and consistently funny look at the adventures, or rather, misadventures in the ways of love encountered by the gullible and guiless lady known as Charity Agnes Valentine - "the lady of the evening" who always gives her heart, and her earnings, to the wrong man. Charity sings, dances, laughs and cries her way through romances with the "animal magnetism" hero, the "ultra-chic-continental" hero, and lastly, the "impossible-to-believe-but-he's-better-than-nothing" hero.
Sweet Charity is a musical in every sense of the word. Cy Coleman has captured the rhythms and sounds, and Dorothy Fields the vernacular of fun, of 60s New York. It's a dancing show, too, with great opportunity for use of dramatic movement. There's one of the all-time great show-stopping numbers when Charity's dance-hall colleagues sing "Hey, Big Spender!"
The show is easy to stage and, above all, it's fun.
As the last bold, brass chords of the overture die away, a spotlight picks out a girl with a shoulder bag and a heart tattooed on her left arm. Charity Hope Valentine is meeting her boyfriend in the park. While she tells him how great he's looking, the silent Charlie preens himself. Then he grabs her bag, pushes her into the lake and runs off. The passers-by discuss the apparent drowning but do nothing, until a young Spaniard finally hauls Charity out and the police arrive, asking questions.
An electric sign lights up, announcing 'The Fan-Dango Ballroom', where Charity works as a taxi-dancer. In the Hostess Room, Charity explains to the sceptical girls how Charlie tried to save her - 'He made a grab for me but all he got was my handbag.' The manager, Herman, arrives to tell them it's time for work.
A railing rises across the front of the stage, and we are in the seedy Ballroom. The girls drape themselves over the rail and proposition the audience. Helene and Nickie try to comfort Charity about Charlie's absence.
On a New York Street, after work, Charity gives to every beggar who approaches her until she realises she has no money. Just then, film star Vittorio Vidal rushes out of the smart Pompeii Club, in pursuit of his beautiful mistress, Ursula. He bowls Charity over in more ways than one. Ursula refuses to go back inside with Vittorio, who promptly takes the only-too-willing Charity instead.
Inside the Pompeii Club, the dancers are dancing the latest craze - The Rich Man's Frug. To everyone's astonishment, Charity sits down with the famous Vittorio Vidal. She tries to steer him away from the subject of Ursula and, finally, he wants to dance. Not having eaten since breakfast, Charity faints. There is general agreement amongst the dancers that she needs to be 'laid down'. 'But where?' asks Vittorio. Charity opens her eyes, 'Your apartment!'
Lying down on Vittorio's bed, Charity suddenly isn't hungry any more. She admits she's a dance hall hostess, putting it down to 'the fickle finger of fate' - a favourite expression of her's. Vittorio is struck by her humour and honesty. Totally starstruck, Charity asks for a signed photograph to prove to the girls she was really in his apartment. While Vittorio fetches props from his old movies for further evidence, Charity sings excitedly one of the show-stopping numbers, "If My Friends Could See Me Now". Then Ursula arrives to apologise for her jealousy. Charity is swiftly bundled into a closet before Vittorio opens the door to his fiancée.
The scene switches to farce. Vittorio sings romantically to Ursula while passing a beer to the closet-hidden Charity. Puffing a cigarette, she watches through the keyhole as Vittorio and Ursula make love. 'Gee,' says Charity, impressed, '... talk about your foreign movies!'
In the Hostess Room, the following night, the girls are disgusted that Charity didn't get more out of Vittorio. Nickie says she's not going to stick this crummy job for the rest of her life but Herman brings them back to down to earth.
An electric light announces Charity's 'Big Decision'. She's going to get some culture from the YMCA on 92nd Street.
At the Y, Charity gets stuck in the lift with shy, panicky tax accountant, Oscar Lindquist. While trying to calm him down, Charity finds out he isn't married. 'Oh, Oscar,' she declares. 'You're gonna be all right.' The lights go out and Act One ends with them yelling for help.
Act Two finds them still in the elevator, but not for long. Finally released, Oscar invites Charity to go to church with him. It turns out to be The Rhythm Of Life Church, which is holding its unorthodox meeting in an underground car park.
A police raid breaks up the meeting. Afterwards, Oscar proposes another date. On the subway home, he tries to guess Charity's job - it's in a bank. Unlike with Vittorio, Charity lies: 'You guessed it. First National City, Williamsburg Branch.' As they part, another sign lights up 'The First Kiss'. Oscar kisses her hand, and dubs her 'Sweet Charity'.
Two weeks later, Oscar and Charity are still seeing each other and she still hasn't told him what she actually does for a living. Out at Coney Island Amusement Park they get trapped again - this time on the parachute jump. But now he is the calm one and she is scared - scared that she is starting to depend on him. Once again, Charity loses her nerve about telling him what her real job is. It's far too pleasant just listening to Oscar, who has turned manly and protective since meeting her. As the crowd look on, the couple kiss.
On a slow night at the Fan-Dango, Charity is beaten to one of the few customers by the new girl. Finally disgusted by the whole business, she quits. But on Times Square she wonders what the alternative is.
At Barney's Chile Hacienda, Charity meets Oscar to have it out. She admits that she's a dance hall hostess. But he knows. He followed her one night and watched for an hour. He doesn't care and wants to marry her. Charity leaves on cloud nine and packs a suitcase on which is printed 'Almost Married'.
After a farewell party at the Ballroom Charity and Oscar walk in the park when Oscar drops the bombshell. He can't marry her. He's been thinking about the men before him. 'Marry me and I'll destroy you, Charity,' he says. 'That's okay,' says Charity, 'I'm not doing much now, anyway.' Urging her to run away, Oscar pushes her into the lake. Then he leaves.
Charity emerges. 'Did you ever have one of those days?' she asks the audience. But at least she still has her bag. She is just thinking that maybe things are looking up when, right on cue, the Good Fairy appears. 'Dreams will come true tonight!' she promises, scattering stardust. She turns to go. On her back is a sign saying: 'Watch "The Good Fairy" Tonight ... 8 o'clock ... CBS.' Charity shrugs, and begins to dance, alone again as at the start. Three fluorescent signs appear in turn, reading: 'And So She Lived' ... 'Hopefully' ... 'Ever After'.
Male - 8+: Female - 10+
plus chorus and dancers
Baby, Dream Your Dream
I Love To Cry At Weddings
If My Friends Could See Me Now
I'm A Brass Band
I'm the Bravest Individual
Rhythm Of Life
Rich Man's Frug (dance)
There's Gotta Be Something Better Than This
Too Many Tomorrows
Where Am I Going?
You Should See Yourself
Violin 1 & 2; Viola; Cello; Bas; Reed 1, 2, 3, 4 & 5; Trumpet 1, 2 & 3' Trombone 1, 2 & 3; Percussion
Original Broadway Cast - Columbia CK-2900
Original London Production - Sony SMK-66172
Revival Broadway Cast Production - EMI - CDP-746562
Film Soundtract - Decca 71502
2005 Broadway Cast Recording