Book Thomas Meehan / Music Charles Strouse / Lyrics Martin Charnin
Directed by Karen Johnson Mortimer
Produced by John Frost for Crossroads Live Australia with Fowles Entertainment and Power Arts
Capitol Theatre Sydney
In the current political climate we all need a little bit of sunshine. The revival of the much loved Broadway classic Annieby Thomas Meehan, Charles Strouse and Martin Charnin which opened last Thursday night at Sydney’s Capitol Theatre is exactly that – an uncomplicated, good old -fashioned musical comedy that leaves its audience smiling from ear to ear. This slick, polished production delivers in spades thanks to an incredibly talented cast and sensitive direction.
Director Karen Johnson Mortimer not only had to deal with animals and children, she also had a slightly banal book which, if handled without care could have come across as trite and superficial. Instead, what she has done with the excellent juvenile cast, two dogs and a stellar lineup featuring Australian musical theatre royalty Anthony Warlow; is to deliver a healthy dose of optimism neatly wrapped up in the perfect setting – Sydney’s grand and graceful Capitol Theatre – the perfect venue for this revival. While the little red haired orphan with the big belt (played beautifully on opening night by fire cracker and rising star Dakota Chanel) is absolutely the star of the show, what elevates this production are the subtle nuances in both the direction and the choreography and the campy flair of the outstanding performances.
As 1930s New York billionaire Oliver “Daddy” Warbucks, Anthony Warlow brings gravitas to the role – which he has played in multiple productions around the world. This reviewer was fortunate to have seen Warlow in the 2013 production at the legendary Palace Theatre in New York City playing opposite Glee alumna Jane Lynch. He was great then, but in the 12 years since that production, Warlow has really gotten to know the character and slips into him like a comfortable old pair of shoes bringing equal parts stern republican and lonely soft hearted old man. In press leading up to this production, Warlow was asked what keeps him coming back to the role and he responded that this time, it was the amazing cast of young actresses who worked hard in the rehearsal room and are as professional as they are talented. Indeed, the choreography in the iconic It’s a Hard Knock Life is tricky. Opening night’s cast of orphans nailed it with a precision and attitude that had the audience wildly cheering.
Debora Krizak’s mean, alcoholic orphan mistress Miss Hannigan steals the show with sharp delivery, belting vocals and spot on comic timing. It is clear that Ms Krizak is loving every second of her star turn in Annie playing one of musical theatre’s favourite character roles. Her chemistry with the insanely talented duo of Keanu Gonzalez (Rooster Hannigan) and Mackenzie Dunn (Lily St Regis) is palpable – especially in Easy Street – easily the best number of the show. The choreography, direction and performances are at their absolute best here – evident by how far video of this number from the press call has spread all over the world wide web. “Brilliant” doesn’t quite cut it. Krizak, Gonzalez and Dunn are theatrical dynamite!
OG Yellow Wiggle Greg Page is endearing as US President Franklin D Roosevelt and adds a warmth to the presidency which is lacking in the current US head of state. FDR adds some historical context to the musical however, this part of the storyline is justifiably downplayed. Annie is not a history lesson and this is where the book can sometimes over power the musical’s narrative flow with the oval office scene seeming slightly out of place with the rest of the show.
Amanda Lea Lavergne delivers classic Broadway ingenue as Warbucks’ polished, slick personal assistant Grace Farrell (played famously in the 1982 movie by Fosse muse Ann Reinking). Lavergne’s Grace is not like the Grace from the movie version, where a romance develops between her and her employer, Warbucks. This is just one example of the many sensible directorial decisions in this smartly thought-out production.
Special shout out to Nakita Clarke in one of musical theatre’s most notable cameo roles – the Star To Be in act one’s NYC. Sutton Foster famously played the Star to Be in one of her first Broadway outings, and Clarke shows equal promise with soaring lyrical vocals, poised choreography and star-quality stage presence. I can’t wait to see where she pops up next.
But all in all, this show belongs to one little girl and her dog (or in the case of this production the four little girls who play Annie in different performances – Dakota Chanel, Beatrix Alder, Matilda Casey and Stephanie McNamara and two dogs – Daisy and Sandy). They are the heart and soul of the story and the emotional glue that holds it all together. And supported by sensitive and careful direction with an experienced and polished adult cast, this production of Annie has you leaving the theatre with a tear in your eye and little bit of hope in your heart that the sun might actually come out tomorrow.
Production pics (c) Daniel Boud
Annie is produced by John Frost for Crossroads Live Australia with Fowles Entertainment and Power Arts John Frost for Crossroads and plays at Sydney’s Capitol Theatre through 21 June after which it will play seasons in Melbourne and Brisbane.
In his past lives, Damien was a drag queen and musical theatre actor. He made his stage debut as a fat cow in a school production of Joseph in 1984. He holds a BA with a major in drama from the University of Newcastle. He is completely obsessed with musical theatre – especially Broadway divas.
Since relocating to Sydney at the beginning of 2024, he attends every musical he can get to and lives with his partner and grumpy 12-year-old poodle.
His claim to fame is that he once met Patti Lupone in New York and she was nice to him.