Annie

Crigglestone Community Theatre Company and Kids from Crigg joined forces once again to bring the much-loved musical Annie to the stage at Ossett Town Hall. Set during the Great Depression, the story follows young Annie, a determined orphan on a quest to find her parents, who instead finds love, stability, and family in an unexpected place.

The show opened on an evocative set—a dimly lit dormitory filled with sparse iron beds, immediately transporting the audience to the orphanage. The bleakness of the setting was effectively conveyed, although the overture, though musically sound, felt slightly prolonged given the open stage. Some light interaction or movement among the orphans could have brought the space to life and established character relationships right from the start.

In the title role, Maddy Wayman was a delight. Her joy for performing radiated throughout the production, and she delivered a touching rendition of Maybe, sung with emotion and poise alongside the youngest orphan, Molly, played by Frankie Rose Binns. Frankie Rose certainly stole the scenes she was in—adorable yet packed with stage presence and confidence that belied her age. The other orphans—Emily Carrit (Tessie), Eden Smith (Duffy), Megan Wiles (July), Dottie Turner (Pepper), and Rose Clarke (Kate)—all part of the Kids from Crigg section of the company, showed great promise for the future. Their energy, characterisation, and teamwork on stage added to the charm and authenticity of the group scenes.

The relationship dynamics within the orphanage, particularly with Miss Hannigan, could have been explored more deeply to highlight the challenges Annie faced early in life. Christine Kenny, as the slovenly and self-absorbed Hannigan, played the role with flair and ease, but a sharper, more cutting edge to the character’s cruelty could have heightened the contrast with Annie’s later fortune and drawn out further empathy from the audience.

Providing bursts of comedic energy were Graeme Hemmingway as Rooster and Katie Binns as Lily St. Regis. The energy on stage noticeably lifted with their entrance. Hemmingway continues to grow as a performer, and his confident vocals in Easy Street were spot on. Binns was pitch-perfect as the ditzy, over-the-top Lily, with a wonderfully natural rapport with Hemmingway—together they made a highly entertaining duo.

Katy Nicholson, in her first role with the company, was a warm and dignified Grace Farrell, the personal assistant to billionaire Oliver Warbucks. She brought a gentle, maternal energy that provided a strong contrast to Hannigan’s chaos, and her vocal delivery was both polished and pleasing.

As Oliver Warbucks, Nick Harvey Wade delivered a commanding performance. With his striking presence and powerful voice, he embodied the role from the outset. As the show progressed, his relationship with Annie became increasingly touching and believable. A particular highlight was the radio station scene, where Wade had the opportunity to show off his well-timed comedic skills—an enjoyable and memorable moment.

Supporting characters were brought to life with care and character by John Hewitt (Franklin D. Roosevelt), Joe Smith (Bert Healy), Steve Anderson (Drake), and Paul Wilkinson (Lt. Ward), each contributing moments of humour, hope, and heart to the story.

The ensemble, whether portraying cheerful maids, down-on-their-luck hobos, or upbeat Boylan Sisters, threw themselves into their roles with enthusiasm. Their energy, smiles, and commitment added colour and cohesion to the production—proving once again that you’re never fully dressed without a smile.

That said, there were occasions where scene changes felt slow, and musical underscores were extended to accommodate them, which occasionally caused a loss of momentum. On a stage like Ossett Town Hall, which lacks a fly tower and has limited options for set movement, this is understandable. However, incorporating more fluid transitions, perhaps using ensemble members to shift scenery in character or integrating movement into scene changes, could help sustain pace. Additionally, using lighting and sound more dynamically could offer smoother, more engaging scene changes without the need for long pauses or blackouts.

Overall, this was a warm, engaging, and community-spirited production with clear dedication from all involved. Under the direction of Dean Patrick, with musical direction by Wil Jones, and choreography from Katie Binns and Rosie Smith, the cast delivered a performance full of heart, humour, and charm. Congratulations to the entire team—both on and off stage—for a production that left the audience smiling and humming along.

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