Annie

As the familiar trumpet solo burst into those bright, brassy opening chords, the audience at the Blackburn Empire Theatre settled into the promise of a vibrant evening of musical theatre. Create Theatre Academy’s Annie the Musical opened with confidence and colour, the cast at once setting up the warmth, energy, and heart that define this much‑loved show. Set in 1930s New York, the story follows the irrepressibly optimistic Annie as she escapes the clutches of Miss Hannigan and finds an unexpected home with billionaire Oliver Warbucks. Along the way she searches for her long‑lost parents, befriends a stray dog named Sandy, and discovers that hope can transform even the hardest of hearts.

Directed by Rebecca Eastham and Alex‑May Colley, the production showed remarkable precision and fluidity. A central round dominated the stage, with ramps on either side allowing performers to move effortlessly in and out of scenes. The downstage area became a clever workspace for rapid transformations, dressed by the cast with impressive discipline. The flow from orphanage to mansion, from NYC to the cinema, was seamless, each location set up with clarity and purpose. Despite the considerable number of props, not a single item shifted once placed or was ever left unattended evidence of a cast thoroughly drilled and fully invested. Even cameo roles were shaped with distinctive touches that added texture and character. The cast brimmed with energy, and props and stage dressing were woven into the choreography, giving the routines a lively, characterful quality.

Under the musical direction of Dave Dossett, the vocal work was outstanding. Harmonies were strong and clear, delivered with confidence by the entire company. Soloists shone, but what impressed most was the clarity and projection from ensemble members, even single‑line moments were crisp, supported, and fully in character. The orchestra played with assurance and warmth, providing a rich musical foundation that allowed the cast to shine while maintaining strength and musicality throughout.

Emma Soper’s choreography added emotional depth and visual flair. Hard Knock Life and Hooverville pulsed with passion and grit, the cast using the central round to full effect as every performer moved in perfect sync. In contrast, Something Was Missing unfolded with beautiful simplicity, large gold picture frames gliding fluidly around the leads to create a gentle, elegant motif. A fleeting burst of tango during NYC added a delightful surprise, showcasing Emma’s instinct for detail and her ability to enrich storytelling through movement.

Sound design by Alex Pickup was excellent throughout, supporting the production with clarity and consistency. There were no mic drops, no feedback issues, and no moments of lost sound. Lines were crisp, vocals carried cleanly across the auditorium, and the balance between band and voices was spot‑on, ensuring the orchestra’s richness never overpowered the performers

Ryan Clegg’s lighting design elevated the production further, shaping atmosphere and emotion with real finesse. Moody blues settled around the orphans during the song Maybe with gentle smoke rolling in to soften the scene. As Annie moved into her reprise, those cool tones warmed into glowing oranges and reds, beautifully mirroring her rising hope. The President scene burst into bold red, white, and blue, while NYC shimmered with vibrant city brightness and Hooverville was drenched in gritty, atmospheric tones. Every cue enhanced the drama without ever distracting from the performers.

Within this vibrant framework, Thea Baah’s Annie stood out as a performance of real charm and depth. She brought sass and a wonderfully ‘lived‑in’ confidence to the role, her delivery of “oh gee” carrying a subtle, knowing manipulation as she sensed Warbucks softening. Balancing cute charm with streetwise grit, she crafted a characterisation that felt truthful and engaging. Her vocals were controlled, expressive, and beautifully blended in harmony, anchoring the show with assurance.

Jena Darley delivered an excellent performance as Miss Hannigan, striking the perfect balance between comedy, menace, and chaotic charm. She never overplayed the drunkenness, instead giving it just enough slur and swagger to land the humour without losing credibility. Little Girls was a highlight of sharp comedy timing, wonderfully physical humour, and a deliciously exasperated energy. Her rapport with the orphans was excellent, snapping and stumbling around them with a larger‑than‑life presence that never tipped into caricature.

Jack Hornby brought charm and warmth to Warbucks. His rapid, business‑like delivery at the start captured the character’s no‑nonsense efficiency, softening beautifully as he warmed to Annie. His accent was impressive, and Something Was Missing was sung with emotional clarity and control, allowing the tenderness of the moment to land without ever feeling forced. It was a thoughtful, grounded portrayal that balanced authority with vulnerability.

Charlotte Roberts was a charming, composed Grace, offering warmth without losing her no‑nonsense professionalism, especially in her dealings with Miss Hannigan. She carried herself with an elegance that suited the role perfectly, providing a calm, capable counterbalance to the chaos around her. Her interactions with Warbucks and Annie felt genuine and grounded.

Harry Connor was a delight as Rooster, full of swagger and mischief. His transformation into Annie’s frail “father” was hilarious, with a brilliantly judged shift in accent and physicality. The contrast between his bold New York bravado and the exaggerated weakness of his disguised persona was sharply executed. His work in Easy Street was excellent, blending effortlessly with Miss Hannigan and Lily in tight harmony and playful chemistry. Harry also brought authority to Lt Ward and strong vocals in NYC.

Holly Helm matched him perfectly as Lily, bringing bright energy, sharp comedy, and strong vocals. Her Lily accent was delightful, full of character without ever becoming overdone, and she contrasted it brilliantly with the sugary sweetness of “Shirley Mudge.” Her chemistry with Rooster made their scenes sparkle, and her vocal work added depth to the trio numbers.

Amaan Wardingley delivered two sharply contrasted performances as Bundles and President Roosevelt. Warm and humorous as Bundles, he then transformed completely into the ageing Roosevelt, moving with convincing frailty and transferring himself into a wheelchair with impressive control. Even within the limitations of the chair, he continued to move in and out of choreography during the finale, keeping character and presence throughout. His appearance was carefully aged, greyed out to look old and frail, and the transformation was so complete it felt like watching a different performer entirely.

Harry Ford brought clipped professionalism to Drake, anchoring the Warbucks household with crisp delivery and immaculate posture. Charlie Hall shone as both Bert Healy, full of showbiz sparkle, and Ickes, offering grounded character work and excellent versatility. Rebecca Aspinall, Emilia Croft, and Aoife O’Brien were a delight as the Boylan Sisters. Their bored, deadpan opening before launching into fabulous, tight harmonies was executed with precision and humour. Their blend was rich and assured, and each performer brought personality to both their mansion and radio roles. India Pilkington impressed as both Perkins and Star to Be, delivering a bright, confident vocal moment in NYC. Lily Pickup (Mrs Green), Mia Mainey (Cecile), and Maddie Steel (Hull) each added poise and clarity, strengthening the mansion ensemble.

Rebecca Ball was a fiery, energetic Pepper; Nancy Valentine‑Lynden a wonderfully funny Molly with strong vocals. Bella Cumia (Duffy), Amelie (July), Alexis Lockwood (Tessie), and Francesca Muldoon (Kate) all brought individuality, focus, and vocal strength to the orphan ensemble. Lawson Smith gave warmth to the Apple Seller, while Oscar McNicholas showed excellent comedy timing as Wacky.

Katie Wyatt’s operation of Sandy was exceptional. The puppet moved in perfect synchronicity with Annie, reacting with subtle head turns, curious glances, and beautifully judged comic beats, especially the moment of indecision between Annie and the dog pound. The puppetry was expressive, characterful, and utterly convincing, adding a layer of charm to every scene the dog appeared in.

The production closed with the same confidence and heart that carried it from the very first note. What stood out most was the collective commitment of the entire company: a cast performing with discipline, joy, and real theatrical instinct; a creative team whose attention to detail shaped every moment; and a technical team whose work elevated the storytelling without ever overshadowing it. The blend of strong vocals, inventive staging, expressive choreography, and thoughtful character work created a show that felt warm, and full of life. It was a production that celebrated teamwork at every level, resulting in a thoroughly engaging evening of musical theatre.

A word, too, for the front‑of‑house staff at the Blackburn Empire Theatre, whose attentiveness and welcoming presence ensured the audience were looked after from the moment they arrived. Their professionalism and warmth contributed to the overall experience and helped the evening run smoothly for everyone. I would like to thank everyone involved for such and enjoyable evening and look forward to many more productions from Create Theatre Academy in the future.

 

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