“It may not be the most ground-breaking production, but it’s an exuberant and heartwarming revival of a classic … Save your dimes, get yourselves fully dressed with a smile, and head along to the theatre these holidays.”
Fiona Hallenan-Barker
4 Stars
Venue: Capitol Theatre
Sydney
Dates: Until June 28th
Imagine a world where an American billionaire and his friend the President work together for the greater good of people struggling to pay the bills. Where little girls are saved from a life of misery to be lavished with gifts, love and attention. Wouldn’t that be something? Annie has all this and a very cute dog too.
It’s hard not to raise an eyebrow at the central premise of the show: a billionaire deciding to spend two weeks with an orphan. Sure, in the 1970s, this wasn’t the headline-making situation it would be today, but it still feels odd in the current climate. The absurdity of an eleven-year-old changing the lives of the rich and powerful for the better is almost too much to take seriously, yet there’s something wonderfully nostalgic and hopeful about the story.
The latest production of Annie bursts to life with dynamic energy. The show’s iconic songs, particularly Tomorrow and Hard Knock Life, continue to resonate. There’s a timelessness to these numbers that gives the show its pulse. The young female cast are the heart of this production. They deliver cheeky resilience, demonstrating that no matter how grim life can get, hope and positivity can always shine through. A particularly young performer playing Molly earned many raucous cheers from the audience with her audacious and well-timed moments, reminding us that these little ones can steal the spotlight at will.
Sandy the dog, too, deserves a mention. The canine co-star navigated the chaos of the stage with surprising poise and lots of hugs, even pausing perfectly for a standing ovation during the finale. The whole ensemble are strong. Amanda Lea Lavergne shines as Grace Farrell, the personal secretary to Oliver Warbucks. Lavergne’s performance is a delightful anchor amidst the rubbery comedy of the orphanage scenes. She brings a grounded sweetness to the show, and her chemistry with Warbucks (played with stature by Anthony Warlow) is undeniable. Warlow, the legend of musical theatre, delivers a pitch-perfect performance as Daddy Warbucks, perfectly capturing the character’s transformation from gruff businessman to benevolent father figure.
Dakota Chanel is charming and bright as the titular Annie, giving it her all and sailing through the complex production seemingly effortlessly. But it is Deborah Krizak’s sharp, gutsy portrayal of Miss Hannigan that steals the show. Her synergy with Dakota Chanel’s Annie and all of the ensemble lifts the mood. Hannigan’s contempt for the children, particularly her unrelenting desire to escape the drudgery of her life, is both comic and tragic. Krizak boldly sets the tone, giving us a Miss Hannigan who is simultaneously hilarious and deeply unsettling, it is a masterclass in character.
Visually, the production is a treat. Craig Wilkinson’s projections add a cartoon-like quality to the show, helping us speed through the grit and glamour of 1930s New York. Kenneth Foy’s set design, enhanced by clever lighting by Gavin Swift and snappy costumes by the late great Kristian Frederickson, contrasts the stark poverty of the great depression orphans with the wealth of Daddy Warbucks, creating a striking visual landscape. One scene where a military messenger delivers a telegram to the White House in the style of Buster Keaton is a perfect example of the slapstick humour and whimsical timing that keeps Annie from taking itself too seriously.
The music, led by Musical Director David Piper, sounds rich and full of fizz. The orchestra is sharp and snappy, propelling the action through the bustling streets of old New York. The score, with book, music, and lyrics by Thomas Meehan, Charles Strouse, and Martin Charnin, blends perfectly with the production’s vibrant energy. The musicians were a highlight during the interval, kindly interacting with the curious children peering over the balcony to catch a glimpse of the instruments and sheet music — a lovely touch.
The first half of the production is the strongest thanks to the sharp comedy and the bright energy of the orphanage scenes. The second half suffers from a lag in the storytelling. We all know where we are headed well before we need to. The production could also benefit from greater diversity in its cast. Despite this, the absurdity of the plot remains endearing, particularly when the show delivers some of its most delightful moments.
In the end, Annie reminds us of a time when hope, optimism, and the belief that a single child could change the world, held a special place in our hearts. It may not be the most ground-breaking production, but it’s an exuberant and heartwarming revival of a classic. Save your dimes, get yourselves fully dressed with a smile, and head along to the theatre these holidays.
4 packed suitcases /5
Photos by Daniel Boud
Fiona Hallenan-Barker, Theatre Now
