Annie Get Your Gun

‘Annie Get Your Gun’ is without a doubt Irving Berlin’s biggest Broadway hit - classic Broadway musical theatre at its best; exciting, vibrant and tuneful. The book and score underwent a revamp for a 1999 Broadway revision scrapping rousing numbers, re-orchestrating others and reducing some of the lengthier scenes.

This revived telling manages to hang on to and respects the quality and integrity of the original, however, I do favour a lot of what was left on the cutting room floor; the initial opening number ‘Colonel Buffalo Bill’, ‘I’m An Indian Too’ and the original orchestration of ‘I Got The Sun In The Morning’ is a far more exciting rendition. Maybe a case of don’t fix what ain’t broke? Don’t get me wrong, I support the decision to get the final curtain down on the right side of 10pm which is most certainly a positive feature as far as I’m concerned. Positives of this revival version is not only cutting down the length of the show, it makes sure we remember the scores most recognisable and famous number ‘There’s No Business Like Show Business’, it gives us a clever re-work of ‘My Defences Are Down’ and a very exciting opening to Act II which is a montage of the European tour which, sadly, had been axed by this productions creatives.

The scenery was attractive, simple and satisfyingly manoeuvred in and out of position. Placement of some down stage set pieces weren’t favoured by the ghastly honey bee design house tabs (causing them to get caught a few times) and although props were authentic of era for the most part a box labelled “Annie’s Props” struck as being entirely out of period with its label.  

Costumes complemented the performers from back row of the ensemble to Annie herself, each attire presented with equal importance regardless of whether it’s a principal player or chorus member who dons the garment which is refreshing and how it should be.

Gareth Jones looked ideal as Bill Cody, his booming speaking voice and physical command started out to present a very promising and accurate act, although singing isn’t the pinnacle requirement for this role it was the field that put a slight dampener on his presentation, guidance from the musical director when he did venture off time would have been beneficial.

Little Jake, the charming and endearing younger brother of the title character pulled all the right strings, a complete and professional act by Toby Fullman. Making up the rest of Annie’s sibling troupe were Jessica Haslam and Natalia Jacques who, with Toby, knew when to take centre stage but more importantly, knew when to take a step back when attention isn’t on them, something which is rare in children and a wholly mature attribute for any performer to understand “this isn’t my bit”.

Strength continued throughout supporting/cameo roles with an enjoyable Foster Wilson who was given an appropriate bumbling and exasperated flavour by Peter Bowler.

Charlie Davenport (the manager of the wild west show) was portrayed by Michael Twigg who is clearly a decade or two younger than actors who usually portray this role, which for me isn’t a problem by any means, but I did sense that his delivery was slightly obstructed with too much being hung upon trying to appear older which gave a backseat to the actual point and focus of the role. He’s young, it doesn’t matter as it’s his status that’s important, not his age - so eliminate the hang up and portray him as a younger guy which would have rid him of the hang up of being the wrong age.

Musically, tempos were too restful which eradicated energy causing parts to drag with a missing zest from this triumphant musical score.  

Kate Shaw’s Annie Oakley is the very definition of the phrase "star of the show". This performance was a glorious creation, a wild, illiterate girl who, over the course of two and a half hours and through ten of Berlin's best songs grows into a dignified, wise, and happy young woman. Kate sparkles and glows in a role which seems to have been written just for her!  

Choreography had its high points with some nice accents and styles being presented, some numbers and transitions were more inspired than others with lifts and pas-de-deux being embraced (something many choreographers shy away from). I was waiting for the showstopping peak from the dancers which never came, something which I feel isn’t entirely accountable to the choreographer, it’s possibly the show itself which didn’t offer a blatant opportunity for the choreography and dancers to shine and show off their capability. Needless to say, what was presented had been drilled to a pleasing result with only the occasional glitch or uneven formation but on the whole the movement in this production was executed to an agreeable result.   

Dolly Tate left a memorable impression with Collette Desborough excelling an impeccable style and tone, milking each “hip” just enough but not too much.

Playing arrogant but charming, jealous rage but with lovable tendencies is a tricky and complex balance as one trait being slightly more overpowering than another can present a damaging result to the narrative, Gary Jones-McCaw balanced Frank with dexterity to ensure he remained the likeable character. It’s sad that Frank hasn’t really stood the test of time, audiences who meet this character for the first time in 2018 could very well have the impression that Annie can do better and wouldn’t be likely to celebrate the idea that the two of them eventually get together, but, remembering the time which this piece is set is about the only factor that can sway the viewer to accept it, when women were treated and behaved very differently. If it was set now, I’d put money on the outcome of this story being very different!   

‘Annie Get Your Gun’ is an old-fashioned romance laced with tenderness and punctuated with thigh-slapping old-school humour which left a charming glow, giving us the opportunity to savour in a golden age classic Broadway show (revamps included). Michael Jones-McCaw has presented a slick and enjoyable production, I adore a classic and it’s clear that Michael does too as he cherishes and honours a golden oldie with fondness.    

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