Annie

Annie is one of those musicals that everyone knows; it is woven through the fabric of particularly American culture. Little Orphan Annie started as a poem, before becoming a cartoon strip just over 100 years ago. Even though the Broadway debut was 1977 and the film – which most people will know Annie from – came out in 1982, it still captivates audiences and has held its age well, due primarily to being set in the early 1930s. As such it’s a go-to musical featuring lots of children, but also adults as well, one that everyone knows the story of, and has some expectations of the characters. This could hinder a company, but it absolutely hasn’t here.

As the audience enter with their programme full of interesting facts about the show, the children in the orphanage are already on stage, climbing on their beds and looking like they are getting ready for bed. It’s a lovely soft opening to the musical, before we see Annie, in this case sweetly but not too sweetly played by Lucy Harrison with pitch perfect vocals. Perennial Polyanna Annie can be too sweet, but Lucy walks that fine line well, and seems completely unphased by leading the whole story as the titular character and rarely being off the stage; also managing a live dog, which gave an added “ahh” factor to the whole show.

Sam Clements is a hoot as Miss Hannigan, constantly swigging out of her secretly kept hip flask and delighting in lightly tormenting the children. Eden West has great swagger as Rooster and Ally Goldberg has super presence as Lily. Andy Clawson has really lovely characterisation as Warbucks, showing his emotional journey from being money orientated to realising that something is missing from his life, and that is Annie. Penny Schmidt-Uili is really lovely as Grace with perhaps a secret crush on her boss as well: something for the audience to muse and smile over. In fact all the actors work so well together, all the children and adults, and you can feel the warmth emanating to the audience of how they love working together. Their enthusiasm and commitment is lovely to see and feel a part of. A big shout out needs to go to Archie Burrows for his fabulous portrayal of Bert Healy the Radio Presenter, which he plays completely straight and deadpan: a wonderful choice, and guffaw funny.

The radio show is a highlight, with the famous ‘Never Fully Dressed Without A Smile’ song, which epitomises the production. The set construction with scaffolding stage left works so well in terms of adding entrances and height and definition to scenes and sequences, and the costumes are spot on and very detailed and gorgeous. Where this production shines the brightest is in the musical numbers: the singing and the choreography. The pictures they create are amazing: so detailed and interesting. And every single performer is drilled and knows exactly where they are going, what their motivation is: you can see it on their faces as well as in their movements. They use the space incredibly well, especially in the large group numbers, and it’s a joy to watch the choreography done so well. Congratulations to Choreographer Hayley Jane Simmons and to Musical Director Brogan West, who deserves added praise for re-writing the score for the instruments in their orchestra, although you would never know such a rich and round sound is coming from fewer instruments than intended. Congratulations to Director / Producer Amanda West for putting together and leading such a sparkling and lively production which feels simply super.

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