ANNIE GET YOUR GUN

Starting with “live” camera feed of cast preparations and interval archive film footage of Buffalo Bill’s Wild-West Show, Banbridge showed the “show-within-a-show” nature of Peter Stone’s 1999 Broadway revival version.

The set was a mixture of projection, painted flats and backdrops. Green screen technology produced a lovely “coup-de-theatre” for Annie’s stunt finishing Act I. Costumes were generally fresh and colourful.

Props were all in place when needed – though Annie’s cart could have done with practical wheels, not cutouts and visible casters. Costumes were generally fresh and colourful; Sound was sometimes over amplified.

Lorraine Jackson-Brown as Annie showed her versatility, with diction excellent and transitions from raucous to sweet singing, faultless. She was well matched by Killian Foy as Frank Butler - a fine singer and actor.

Impressive supporting performances from Jacqueline Matthews (Dolly Tate) and Patrick McGennity (Charlie Davenport) whose every scene showed their collective experience – particularly in energy on entrances and delivering powerful exit lines. Andy McKnight (Tommy Keeler) sang and danced well with Emma Kelly as Winnie Tate. However, there was not much indication that Tommy was native American.

All smaller principal roles, too numerous to mention individually, were well covered. Mallory Lutton, Aimee McVeigh and Daniel Brown showed promise as Annie’s little sisters and brother. The chorus showed enthusiasm and involvement but choreography, while within their capabilities and well drilled, simply did not look right at times. There were however some lovely “pictures” created. Musical Numbers would also have benefited from an increase in tempo from Colin’s 9-piece orchestra.

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