Gentlemen, "Sweet Charity" follows a few weeks in the life of dance hall girl Charity Hope Valentine, the lives she affects and the love for which she is searching (and, of course, never finds).

It is also the PERFECT date for that special lady you hold dear. The play is an even mix of comedy, music, cheesiness, romance and of course that sweetness that only Paige Davis can bring.

Davis is probably best known as the effervescent host of The Learning Channel's (TLC) home remodeling reality show, "Trading Spaces," but her first love was the song and dance of the stage. Davis was definitely at her best when she showed her starry, wide-eyed, naivety (despite her street life), especially during her attendance at the Rhythm of Life Church, which sadly earned only light applause considering its power.

The show starts out with a slow build up, introducing (and quickly forgetting) Charity's last love and introducing the Fandango Dance Hall girls with the famous number "Big Spender." Soon she meets revered film star Vittorio Vidal (played by Steve Wilson), whose company she giddily accepts and whose relationship she reluctantly helps to patch.

The real interest finally kicks in towards the end of the first act when Charity and claustrophobe Oscar Lidquist (Guy Adkins) get stuck in an elevator together, which gives Adkins scene-stealing free reign of the small box and perfect comic timing as he attempts to deal with the closing walls and quickly depleting oxygen. There, the two spark a connection.

The second act deals with the developments of their new relationship as the misguided Oscar mistakenly believes she holds the purity for which he is searching. He brings her affection, honor, love and the hope that she'll be able to leave her life behind for something better.

Overall, the show remained mostly light and fun, and while there were more serious turns, they held no real emotional depth or impact. Oscar's impossibly high and childish standards revealed towards the end also felt unexpectedly abrupt. This is certainly not a thought provoking analysis of the lives of the girls of the gutter, but I wasn't expecting anything of the sort, either. Try not to smile when Charity performs a back-lit, one girl kick-line on the back of Vidal's couch. It's just fun.

The stage design presented with cool, psychedelic-lite graphical imagery, was mostly minimal, but also iconic and what it lacked in physical set pieces it made up for with attitude, especially during "Rich Man's Frug," when the stage flooded with dazzling lights and filled with purple-suited, derby-topped men, and disco-go-go club dancers, mock boxing and mugging about with the kind of cool that you wish could actually be pulled off in real life.

So, gentlemen, if you can't decide whether she'll like "Die Hard" or "Transformers" better, perhaps you should consider this a sweeter option.