This year marks forty years since ANNIE the musical first brought its optimism to a pre-Broadway tryout theatre in Connecticut. The music, comic strip characters and human struggles across class boundaries still strike a chord with audiences today.
The revival of any Broadway Classic decades after its first success always poses considerable production challenges. Bankstown Theatre Company tackles these challenges head-on with entertaining energy, freshness and a decent maintenance of the show’s classic elements.
In the absence of an orchestra to convey the colours of Charles Strouse’s robust score, musical direction in the hands of Greg Crease still delivers the famous numbers with style and character. Keyboards manage to indicate much of the hues of a larger orchestra. Keen tempo choices give well-known songs pleasing momentum and shape, especially assisting the younger vocalists navigate the expansive musical contours.
Casting is successful in this production and there is obvious merit in the areas of direction (Diane Wilson) and choreography (Edward Rooke). This results in a clear and exciting retelling of the story for those familiar with this stage legend. Audience members experiencing ANNIE for the first time will be ensured of an accessible story punctuated by slick song and dance numbers.
Characterisations of rewarding individuality provide satisfying contrast within all ensembles, but seldom to the detriment of the tightness of each group. Whether the audience watches the talented and enthusiastic orphan girls, mansion staff, the well-costumed Hooverville street community, a radio station studio or a world leader with advisors, there is considerable interest and detail within the stage unity to both celebrate the general mood and showcase the range of this diverse cast.
The reprise of Annie’s signature Tomorrow with Roosevelt’s staffers is a great diverse moment. The popular work song Hard Knock Life shows us rich variety of character within effectively choreographed and successful unisons. The bustle of New York is nicely suggested by overhead signage and a constant flux of believable individuals in the well-sung NYC.
Standout solo characterisations include Margie Dowling’s Grace. She is every bit the charming personal assistant to billionaire Daddy Warbucks. Her pure vocal contribution matches this vocation but her dramatic timing and responses give a full-bodied glimpse into her strong and wise humanitarianism as well as a sharp suggestion of her secret love for the billionaire.
The tortured orphanage mistress Aggie Hannigan is consummately played by an entertaining Leonie Johnson. Johnson is a mistress also of stage gesture and the manipulation of vocal tone. She whips out tricky dance moves as quickly as her hip flask. Such fluidity you are likely to see nowhere else in Bankstown or beyond. She is a fine anchor in the trio Easy Street with her character’s money-hungry brother and his moll.
The role of Annie is split in this production and the group of orphans also changes. Annie as played by Courtney Emmas is a strong polite fighter whose venture into the big city in search of her parents also clearly uncovers much about the adult world. This promising performer has a reliable voice and a presence which rings true in all locations during the sprawling musical.
Emmas shows natural compassion towards fellow orphans which has been well directed to suit the age group. The subtle yet penetrating quality of the first song Maybe as sung by Emmas is consistent throughout. Her chemistry with a vulnerable and thoughtful Daddy Warbucks (as so played by Simon Fry) is never forced and regardless of expensive clothes or orphan attire she brings hope to the Bryan Brown Theatre.
This version of Annie is a real ‘New Deal’ on a theatre classic. The next chance to see it is only a handful of days away. The show continues at the Bryan Brown Theatre this Friday 18th March at 8pm, Saturday 19th March at 2pm and 8pm. The final performance at 2pm on Sunday 20th March has sold out.