Annie Jr

The show is set in the New York of the 1930s.  Much of the action is in the run-down orphanage where Annie has been raised but we are taken to the strong contrast of wealthy Daddy Warbucks’s mansion, with various other locations along the way.  The design, therefore, has to allow for these changes to be met swiftly so as not to hold up the action.  St. Ives Theatre has a unique split-level stage that is always used to advantage to support the journey through the narrative, and provide visual spectacle in that many performers can be accommodated at one time without crowding the space.  Since 2017 the scenery has been dominated by electronic screens, which must now come under the heading Media Design as a distinction from Scenic Design.  They allow the projection of images that can be as colourful and detailed as required to enhance the setting, and have the huge advantage of changing in the blink of an eye so the ongoing action never misses a beat.  Those that form the wings are given a suitable surrounding frame, in this case carefully replicated brickwork that was continued across the front of the upper stage, admirably suggesting the city buildings.  The screens initially showed a skilfully rendered view of the facade of the red brick orphanage on a depressing street but with the witty addition of a running man!  Subsequently we saw internal views of the orphanage’s dormitory and corridors, rundown Hooverville, and several plush interiors of the Warbucks home.  There was an exciting change to the colours of Broadway before the red drapes that indicated the cinema.  Act 2 introduced us to a new setting - an accurate rendition of a 1930s’ radio studio, and on Christmas morning decorations adorned Annie’s new home with Daddy Warbucks.  This attractive and pertinent artwork surrounding the stage enhanced the production in a subtle way leaving the working area a blank canvas for further detail that was provided by a limited selection of furniture.  The dormitory was furnished with a number of camp beds each accommodating three orphans and supplied with cheap rough-looking blankets.  These were cleared by cast members speedily and smoothly, given the minimal space in the wings.  A bentwood coat stand, chair and large desk rolled on to give us Miss Hannigan’s office - did the same one do double duty in the library of Daddy Warbucks?  And a row of cinema seats was easily wheeled onto the upper stage for the Roxy.  Watching this minimal set dressing I was impressed by how little we need to rely on fully realistic box sets, particularly for a musical.

Lighting - opening the show in the early hours of a restless night the dormitory was given a moody wash of blue, with a window gobo on the floor to suggest the moonlight streaming in, until Annie was picked up in an orange glow as she sang her first number, imaginatively indicating her warm personality in the grim environment.  Smoke was used to diffuse and elevate the colours used in many of the scenes.  A red glimmer of embers filled the brazier brought on for Hooverville and particularly effective was the dual lighting for the split scene as the orphans on the lower stage huddled in the semi-dark listening to an enormous radio while the upper stage was brightly lit to give us a good view of the lively atmosphere in the NBC studio.  Changes were appropriate to the mood of the moment and prompt, and at all times the performers could be seen and their faces read clearly.  A working half-blackout was provided for some of the scene changes so that furniture could be moved safely in a fluid manner.  The music is a reduced score to suit the junior version and is supplied as part of the performance package, which allows the cast to have the full rehearsal period working with it and become familiar with the timings.   There was a comfortable balance between the backing track and the singing so some spot on mixing going on! and microphone pick up was satisfyingly prompt. The Kidz projected well in the dialogue with only the very occasional character inaudible on the odd line.  You are to be complemented on your American accents that were delivered with a confident gusto and maintained for the duration of the show - even in song.  The singing was tuneful and diction was good, as was the ability to hold a harmony line, which gave a very full and dynamic sound.

 Props - it’s important in a period piece of theatre that props are chosen to reflect the era accurately, whether or not they are truly historical items.  As long as they fit securely into our subconscious they strengthen our belief in what we are seeing.  With the shabby-looking blankets, moth-eaten toys and stage dressing of wooden brooms, mops and galvanised tin buckets, through the choice of Annie’s battered leather suitcase, to the wicker skip of Mr Bundles, the appearance of the orphanage was given great credibility and put us in the right frame of mind for the story.  The brazier was visible only briefly before being surrounded by the hobos but its use instantly supplied the rundown atmosphere of Hooverville, and the Apple Seller’s basket of fruit looked bright and good enough to eat.  Miss Hannigan’s bottle of drink was small enough for her to keep about her person enabling frequent sips as befits the character.  The dramatic change to the Warbucks grand hallway called for a very different style of props with feather dusters, and silver domed dishes of gateaux and trifles, and on his desk an antique telephone.  Manhattan was vibrantly depicted with some hand props of balloons and carrier bags as well as a realistic looking hot dog trolley.  I did wonder about the accuracy of giving the trio boxes of popcorn but sure enough the practice started in the late 1920s.  The radio microphone was wonderfully large and a vast array of varied hats added to the fun of You’re Never Fully Dressed Without A Smile.  I mustn’t omit to add that you had to make sure that Annie always had her locket with her and congratulate you on finding a wheelchair that didn’t look as if it had been borrowed from a modern hospital.  

Hair and Make Up - many of the cast were required to wear wigs for their characters and it was a joy to see them so carefully styled and fitted.  Their use was able to portray the finger waves and Marcel waves of the era, to add years and sophistication to young performers and to deliberately disguise when needed as such by Lily.  They were fitted with the hairline well concealed and wearers (mostly) resisted the temptation to fiddle with them.  Strong eyebrows and vivid lipstick defined the 1930s’ make up and Miss Hannigan was treated to some startling peacock coloured eyelids, while a beard and glasses on Bundles allowed the appearance of Warbucks to be a surprise.  A wickedly apt pencil moustache added greatly to the questionable character of Rooster!  

Costumes - I love-love-loved the costumes on display in this show.  What a wardrobe!  The care with which the outfits are chosen for the era, well fitted to the players, and colour-coordinated in so many combinations in different scenes, is quite astonishing.  All the small accessories that help create character were considered, with whistle, brooches, earrings, hats and fascinators, gloves, scarves… just perfect.  The orphans all wore different outfits, some too big, some too small, torn, patched or with holes, in subdued colours from the same side of the palette giving a pleasing overall blue/grey tone with occasional accents of pink or brown, such a brilliant idea and so fitting for this poor bunch of unloved misfits, and all barefooted.  Ditto the brief scene with the hobos in their appropriately dreary colours.  The sudden light and brightness that came as we met the mansion’s staff was quite explosive with their matching but individual sunshine yellow outfits; bibbed aprons or tiny pinnies, and the men in yellow satin waistcoats.  Drake’s smart attire kept to the theme but added a grey tailcoat and gloves - the immaculate butler.  The royal blue of the suit of Warbucks and the dresses of Grace and Annie just popped out in contrast while picking up the yellow theme in tie, belts and hair ribbons.  Gorgeous.  The switch to their outing to the cinema was eye-catching as they all donned red coats and we were into a completely different set of vibrant and outstanding costumes, again coordinated but delightfully individual, with red and white scarves or striped blazer, bobble hats, fancy dress Father Christmas and elf, and a variety of working uniforms.  I could wax lyrical for a lot longer I was so impressed by the visual spectacle.  The egg yolk yellow Christmas scene in the mansion was notable for having the theme of spots in so many different designs - a device you used in Calendar Girls with the sunflower motif as I recall.  It is so effective.  Just when we thought we’d come to the end we had an emerald green finale with splashes of darker forest green or lime green.  Outstanding!  Our named characters were immaculately dressed according to character; Miss Hannigan’s outrageous feather trimmed negligee, Apple Seller’s V-necked and patterned vest, the policemen’s blue shirts and badged caps, Rooster’s pin striped suit, skinny tie and gangster hat, and his and Lily’s comical disguises.  Grace was beautifully garbed in so many styles and colours, many incorporating godets - and if I had one critical observation to make it is that I thought hers alone were all just that tiny bit too short for the 1930s.  Your wardrobe department has a real eye for dressing an ensemble show, choice, fit, comfort for movement, maintenance and deciding when there is time for a quick change - it must be frantic backstage.  There is no doubt that the overall costume design for the entire show exhibited the highest standard and greatly contributed to the visual splendour.  

Choreography - the musical offers plenty of opportunity for the Ensemble to appear in many of the numbers and engage in some energetic and fun routines.  Thorough rehearsal meant that there was a pleasurable satisfaction in watching the movers go through their steps with self-assurance and out-going “eyes and teeth” delivery.  The integrated use of the props, buckets, brooms, etc., in It’s The Hard Knock Life was very skilfully contrived and there was interesting use of the levels of movement with some kneeling, while others stood, and the eye was lifted with some on the upper stage.  It was a busy number that kept them on the go doing different activities so their space awareness and keen observation of where others were was challenged.  I didn’t see Annie climb into the skip so there was clever misdirection applied.  The less dynamic Little Girls gave Miss Hannigan the floor and her careful “inebriated” staggering was performed extremely well with excellent body language and strong physicality.  I Think I’m Gonna Like It Here was another full company number that shone with the enthusiasm of the dancers.  Again, handling props became part of the choreography and was done with confidence and skill, as was the challenging lift of Annie into a horizontal position on the luxurious pillow she’d never known.  N.Y.C. was a knock-your-eyes-out fest of colour and movement with exhilarating use of the space and design of movement and grouping.  Easy Street offered a different tempo and style and was performed with great wit by the trio; a crafty ending to a reprise blended into a scene change by sitting Lily on top of the desk as it was wheeled off.  The three backing singers who normally sing You’re Never Fully Dressed Without A Smile as the advertising jingle had a bit of ‘Andrews Sisters’ unison action in the studio, before the song came to vibrant life with the orphans picking up the tune - delightful addition of straw hats of all shapes and sizes.  I Don’t Need Anything But You brought the whole company together, filling both stages with high energy for a feel good moment before the story dramatically turned around.  Finally the President announced the good news and we had yet another bright and happy reprise of Tomorrow for the finale.   This choreography is not toned down for the age group, indeed they are constantly challenged to push on into greater accomplishments.  

Direction - this was a masterfully presented show speaking loudly of the director’s vision of the junior version of Annie and an appreciation of the abilities of the chosen cast and company.  Even before the first bars of music the orphans were in the audience chatting to its members and each other.  This continued through the overture and with flawless timing they contrived to arrive on stage, tucked up in bed, by the dying notes ready for the opening dialogue and first song, which demonstrated a good sense of musicality.  It was a large cast to organise but their discipline made the performance slick and their ability to move furniture around by themselves for the scene changes meant the pace never dropped - and gave them little chance to rest, as the scenes tumbled one into the next!  All of the Ensemble were able to portray individuals and we saw some real character development for Annie and Warbucks in particular as the story progressed.  Given the fact that these two are only four years apart in age they were able to display a touching relationship, evidence of sympathetic coaching.  Thoughtful use of the areas of the stage/s was made, and groupings and placement gave excellent sight lines for the whole cast to be seen and their work appreciated.  As if 24 youngsters weren’t enough to direct, you also had a dog to contend with!  This was a truly magnificent show in so many ways.

Thank you to each and every one of the production team, the cast, the backstage and technical crews, and the front of house personnel who commit so much time and effort to keep Kidz R Us at the top of your game.  I thoroughly enjoyed my evening watching Annie Jr and can’t wait for the next show. 

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