Review by Carissa Shale
They say never work with animals or children, but Annie defies that proverb, proving that when done right, both can elevate a show to new heights. Annie has enchanted audiences for decades with its heartwarming tale of a plucky orphan’s search for a family, and her journey from a dreary orphanage to the embrace of a billionaire in Depression-era New York. Known for its iconic songs like ‘Tomorrow’ and its unforgettable red-headed heroine, Annie is a theatre classic with a heartwarming storyline that remains accessible to modern audiences.
While staging this production could be seen as challenging due to its large child cast, with young talent of this caliber, the true stars of Annie are the youth who bring warmth, vibrance, and spadefuls of professionalism to the stage. The orphans in the cast were undeniable standouts. Their synchronised dancing and stage presence demonstrated a skill far beyond their years, hinting at promising young stars in the making. The young actress playing Annie herself, Isabella Hayden, was a burst of sunshine. As such a large role, Hayden shares this responsibility with two other actors, Dakota Chanel and Lilleth Mcintosh, who I’m sure would be just as brilliant. Isabella Hayden’s colourful, vibrant, cheerful portrayal paired with her strong and clear singing voice to captivate the audience, and endear them to her.
Countering the youthfulness and cheer of the orphans, Debora Krizak as Miss Hannigan provided comic relief with her drunk, disorderly, and disdainful antics. Her unfortunate interactions with the children provided endless laughs, and led the audience to delight in her inevitable downfall. Krizak, alongside Keanu Gonzalez (Rooster) and Mackenzie Dunn (Lily St. Regis), delivered one of the most spectacular moments of the production with their incredibly polished rendition of ‘Easy Street.’ Their synchronised dance moves were smooth and dazzling; a true highlight of the show, and a testament to the production’s highly skilled choreographer, Mitchell Woodcock.
Beyond this number, Dunn’s portrayal of the annoyingly dim Lily St. Regis was whimsically wonderful. Her comical performance may be linked to her deep-rooted connection with this particular production. Dunn’s grandparents, Jill Perryman and Kevan Johnston, often described as a ‘husband-and-wife powerhouse team’ in the industry, starred in the original Australian tour of ‘Annie’ in 1978, as Miss Hannigan and Rooster, respectively.
Anthony Warlow as Oliver Warbucks delighted as always, showcasing his incredible singing voice and bringing a likeable quality to the character. Speaking of powerhouse couples, the chemistry between Warlow and his wife, Amanda Lea Lavergne (Grace Farrell), was subtle yet clearly present, adding a charming layer to their character’s interactions.
And, of course, one can’t ignore the presence of the dog in the production, who added a truly wholesome aspect and was clearly adored by the audience. In this performance, Sandy the dog character was in fact played by a dog named Sandy!
The overall direction by Karen Johnson Mortimer did justice to the original storyline, ensuring the production delighted modern audiences, while being historically and thematically accurate.
Beyond the acting and direction, it’s clear that much thought went into the stagecraft of the production to holistically bring the story to life. Backed by a team of expert designers, each aspect of the production was crafted and executed with expertise and grace.
The innovative use of film and projections designed by Craig Wilkinson, were a standout feature, seamlessly changing scenes, effectively setting the mood, and brilliantly illustrating movement throughout the bustling streets of New York City. This modern touch enhanced the storytelling without detracting from the classic feel.
The historically accurate scenery and costumes designed by Kenneth Foy and Kristian Fredrikson respectively, perfectly captured the essence of 1920s New York City, adding authenticity to the visual experience. Meanwhile, Gavan Swift’s lighting design effectively highlighted and elevated the visual aspects of the production, while Michael Waters’ sound design ensured a seamless and satisfying experience for the audience.
Another stand-out element of the production was the generously-sized 15 piece orchestra, conducted by musical director David Piper. An orchestra has the power to either uplift or undermine a stage production. Fortunately for this production, the musicians were in a league of their own, delivering a completely note-perfect performance that served as the impeccable foundation for the entire show. Importantly, at no point did the orchestra overpower the singing voices of the actors, ensuring that each individual shone through with ease.
Annie offers a fun night out with its simple, classic storyline, beloved by many for generations. In this performance, you are guaranteed that not a single note will be missed, and not a single step will be out of place. The production’s commitment to honouring the original storyline, combined with well-rehearsed and expertly executed performances, makes for a delightful and memorable theatrical experience.
Annie is now playing at the Princess Theatre in Melbourne’s East End Theatre District until October 26th. Final tickets have now been released.
For more details and tickets https://anniemusical.com.au/
Supplied photos from Sydney season. Photo credit: Daniel Boud
