Chicago Tribune - Recommended
"...Director Michael Halberstam's conceit - of which there is a long Chicago tradition - works well at times, especially since it is combined with a hip, "Mad Men"-like style enhanced by such statuesque performers as the redoubtable Ericka Mac and Emily Ariel Rogers, who looks like a refugee from "The Avengers." (The choreography, at its best in its simpler, more spontaneous moments, is by Jessica Redish). Halberstam is clearly determined to center absolutely everything on Charity. An ensemble cast of 10 tells the story quite explicitly as her story."
Chicago Sun Times - Highly Recommended
"...I've seen several revivals of this musical that have felt silly and dated - stuck in a strange time warp of the 1950s and '60s. What Halberstam, Redish, Topol and the deft ensemble behind her manage to do, is to create a sort of fairy tale world that just goes straight to your heart without stopping at any reality signposts. And for the first time at Writers', dance trumps words as the most expressive of all languages."
Chicago Reader - Recommended
"...Halberstam still manages to capture the essence of the show-a kind of wholesome sleaze-thanks to Jessica Redish's exuberantly sexy choreography and Tiffany Topol's bubbly yet earthy performance in the title role. These qualities help compensate for Neil Simon's unfocused, episodic book (loosely based on Federico Fellini's Nights of Cabiria), which supplies some good one-liners but often feels like three That Girl scripts stapled together."
ShowBizChicago - Highly Recommended
"...Ultimately, Sweet Charity can stand alone on the strength of its performances (especially Topol’s) and seamless execution from the crew — an impressive feat in such a small space. If you can forgive a girl her heartbreaking naivety — and a show its wending plotlines — Sweet Charity is a more than satisfying, charming night of theater."
Stage and Cinema - Recommended
"...Michael Halberstam's indomitable staging is a spirited showcase for high-kicking Tiffany Topol in the lovable title role. Fresh-faced but small-voiced, Topol has to do a lot of dumbing-down to reach that role but she's also found enough open-hearted vulnerability to atone for the low I.Q. Anyway, to show the slightest cynicism or bitterness would destroy our faith in Charity; Topol hurls herself into her songs and dances with infectious, wide-eyed delight. If anyone can make a skeptical 2013 audience care about a born victim who never learns from the mistakes she makes (basically meeting men), Topol is that heartbreaker. If anything rivals Topol's feet, it's Jessica Redish's time-capsule choreography, a reminder of how Fosse could turn funky '60s dance steps into a brilliant new body language."
ChicagoCritic - Recommended
"...The staging of a full-blown Broadway musical on the intimate thrust stage at Writers' Theatre is a major accomplishment allowing terrific dance and movement to give the illusion of a larger production. The five member orchestra, using Doug Peck's orchestrations, sounded fine giving the jazz-infused Coleman score a worthy sound. This entertaining show is worth seeing."
Let's Play at ChicagoNow - Highly Recommended
"...This is a musical about a dance hall. So not surprising, the singing and dancing are focal points. Musical Director Doug Peck has facilitated show-stopping numbers. "Hey Big Spender" is cheeky splendid. The salacious foursome, Burthwright, Ericka Mac, Emily Ariel Rogers and Katie Spelman, are simultaneously passionate and dispassionate. Brilliant! In "Rhythm of Life," Jones channels an entire gospel choir and a whole lot of charisma. And then there is the dancing. At one point, Choreographer Jessica Reddish has the posh supper club moving in slinky, mod elegance. Later, she has the call girls go erotic vengeful. And Reddish gives Topol ongoing dance moves for every occasion. Topol kicks it, taps it, charlestons it throughout the entire show with tireless energy and smiling. The dancing is pretty amazing."
Around The Town Chicago - Highly Recommended
"...The five musicians, conducted by Tom Vendafreddo are top notch and again, as I earlier said, fill the Writers' with the music the way it should be heard. The costumes which are plentiful by David Hyman must all be made for quick changes- actors go off one aisle and come back down the other with a different costume and persona in less than a minute. In fact, the only one who only has one costume until the last scene is Charity herself, which I found weird. Nick Heggestad , as always makes sure that he props are correct and while the set (Collette Pollard) is simple, it works and is a total new look and use for this venue. John Culbert's lights are almost perfect and Joshua Horvath does wonders with sound, as I heard every word from every actor."
Chicagoland Theater Reviews - Highly Recommended
"...The Writers' Theatre doesn't offer a company full of great singers, but "Sweet Charity" isn't a singing show. Being a Bob Fosse creation, it's a dancing show, leavened with Neil Simon's wit and wisecracks. The success of any "Sweet Charity" revival lies with the production numbers and the ability of the title character to win the hearts of the audience with her charm and pluck. And that's where the Writers' Theatre comes up big."