Annie
Book by Thomas Meehan, Music by Charles Strouse, Lyrics by Martin Charnin
Directed by John Tartaglia
Choreographed by Jessica Hartman
The Muny
July 18, 2018
Cast of Annie Photo: The Muny
It’s strange to think that, considering my personal history, I had never actually seen Annie onstage until the Muny’s latest production. I had seen two of the three filmed versions and almost wore out my LP of the Original Broadway Cast recording when I was a little girl, before any of the movies had been made. Like countless kids then and since, I would sing along with the album and imagine playing Annie someday. Still, despite the proliferation of productions around the country and the world since the original production opened, including several at the Muny (and two since I moved here in 2004), I had never actually gotten around to seeing a stage production of the show. Now, in the Muny’s 100th season, they’ve brought this classic to the stage in a vibrant production that’s got a lot going for it, especially an excellent cast.
Annie is a familiar story to many, following the adventures of the tough but vulnerable title character (Peyton Ella), an 11-year-old girl who has grown up in an orphanage run by the domineering Miss Hannigan (Jennifer Simard), whose imperious, harsh treatment of Annie and her friends drives the orphans to frustration and near-despair. Annie, who still dreams of being reunited with her parents, refuses to give up hope. Meanwhile, wealthy industrialist Oliver Warbucks (Christopher Sieber) tasks his assistant, Grace Farrell (Britney Coleman), with finding an orphan to invite to spend two weeks in luxury at his mansion over the Christmas season. The bitter, jealous Miss Hannigan schemes with her shady brother, Rooster (Jon Rua) and Rooster’s ditzy girlfriend Lily St. Regis (Holly Ann Butler) to get back at Annie and swindle Warbucks out of thousands of dollars. Also, it’s the 1930s, with the country in the midst of the Great Depression, and President Franklin D. Roosevelt (John Scherer) is trying to figure out what to do about that. The shows mixture of realism, comedy, and optimism in the midst of uncertainy is a large part of its enduring appeal. It’s got some moments that could be seen as cheesy, but its core is sincerity and heart.
This is the Muny, so it’s fairly easy to assume that there’s going to be a large cast to fill up that great big stage. This production has excellent leads, backed by a strong ensemble, even if there are somewhat jarring moments, such as when Annie and the six “main” orphans (Ana Mc Alister as Molly, Samantha Iken as Pepper, Trenay LaBelle as Duffy, Amanda Willingham as July, Madeline Domain as Tessie, and Ella Grace Roberts as Kate) are about to sing “Hard Knock Life”, only to be suddenly joined by about 30 more orphans who just seem to appear instantly from the wings. The energy takes a while to build in the first act, but by the time Annie arrives at Warbucks’ mansion, the show has found its groove and the momentum only builds from there, highlighted by sparkling production numbers such as “NYC” and the truly delightful “You’re Never Fully Dressed Without a Smile”. Peyton Ella, as Annie, has an impressive voice and great stage presence, delivering the iconic “Tomorrow” with power, and she has great chemistry with the other orphans and with Sieber, who is in excellent form as Warbucks. There are also strong performances by Coleman as the kind Grace, Rua as the scheming Rooster, Simard as the delightfully hammy Miss Hannigan, and a memorable moment for Abigail Isom in the featured solo as the “Star-to-Be” in the “NYC” number. Scherer as FDR is memorable, as well, along with a large ensemble of adults and kids. There are also a few scene-stealing moments from Sunny, the adorable terrier who plays Sandy, a stray dog that Annie befriends and then makes various appearances throughout the production.
In terms of production values, the show looks great, for the most part. There is some issue with wigs–Annie’s is somewhat distracting at times, and Warbucks’ skull cap is obvious. Still, those are minor issues when the rest of the production works so well, from Michael Schweikardt’s versatile set that makes excellent use of the Muny’s turntable, to Leon Dobkowski’s colorful period-specific costumes, to Nathan W. Scheuer’s striking lighting, to Rob Denton’s vibrant video design. The Muny Orchestra is in excellent form as well, performing that classic score with style.
So, whether this would be the first time you’ve ever seen Annie or the fiftieth, or any number in between, the Muny’s production is likely to please. It’s a big, vibrant produciton that communicates the enduring spirit of a show that’s become such a legendary classic over the past 40 years. When I recently re-discovered that old LP of the cast album, my son noted the tagline–“A New Musical”, thinking that sounded strange for a show that premiered more than 20 years before he was born. Still, even though it’s not exactly new anymore, the show’s vibrancy and hopeful spirit remain timeless, and the Muny’s production is fresh and full of energy. It’s a fun show, and I’m glad I’ve finally had the chance to see it. It’s definitely worth checking out, no matter how old or young you may be.
Peyton Ella, Jennifer Simard, Britney Coleman Photo: The Muny
The Muny is presenting Annie in Forest Park until July 25, 2018
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