Just over a decade since it was last seen in Australia, Annie is back – bursting onto the Capitol Theatre stage filled with optimism, joy, and hope. Director Karen Mortimer revives this quintessential piece of musical theatre with a sentimental production that preserves the charm and flair found in Thomas Meehan’s book.
For those living under a rock (mainly me), this Tony Award-winning musical follows the story of 11-year-old Annie, who is growing up in an orphanage in 1930s New York, under the cruel eye of Miss Hannigan. In the midst of the Great Depression, pessimism is all around, but chipper young Annie has the antidote: hope. Encouraging others to believe that “the sun will come out tomorrow”, Annie’s enduringly positive spirit seems to finally pay off, when billionaire Oliver Warbucks chooses to take her in for two weeks over Christmas.
Four spirited young performers share the titular role in this production, alongside an alternating cast of child actors. On opening night, Dakota Chanel’s Annie is a ray of sunshine, fully embodying the doe-eyed optimism of the character, balancing warmth and comedy with the more tender and emotional segments. The whole ensemble of “orphans” share an incredible chemistry, which is strongly on display in their performance of ‘It’s The Hard Knock Life’. The stakes are high when it comes to such a well-known and well-loved song, but this ensemble more than meets the challenge with a passionate and committed performance.
Annie is the chicken soup of theatre: warm and comforting...
Musical theatre legend Anthony Warlow reprises his role as Oliver Warbucks, having previously filled the billionaire’s shoes twice in Australia and once on Broadway. Warlow brings a warm undercurrent of paternal potential to the initially cold, cut-throat businessman. However, this change of heart remains somewhat static, and there isn’t much room for the tender, parent-child bond to evolve. That said, this isn’t entirely Warlow’s shortcoming. As a first-time viewer of Annie, it’s hard to suspend one’s disbelief that a ruthless billionaire, who has spent his life prioritising his career, would suddenly become smitten with a young girl, without any clear catalyst. Despite this, Warlow maintains a quiet compassion that becomes the heart of the performance.
A special mention must be made to both Debora Krizak as Miss Hannigan, and Greg Page, the original Yellow Wiggle, as President Franklin D. Roosevelt (who yes, is a character in Annie). Krizak injects the role with humour and charisma, making her a standout source of comedy throughout the show. Page, in his theatrical debut, embodies the resilience and hope that FDR is intended to convey, while also seemingly delivering a subtle jab at the dark irony of contemporary America through nuanced inflection and tone. His performance is commendable, however Page’s American accent occasionally slips, revealing a much more Australian FDR. Another special mention must go to the brilliant canine performers, Bodhi and Sandy, both appearing as Annie’s pound-bound best friend, who both totally steal the show every time they appear on stage.
It would be a disservice not to recognise Kenneth Foy’s layered and dimensional set design as one of the main characters of the production, incorporating Craig Wilkinson’s dynamic new projection designs. The transitions between scenes are like a magic trick. Foy’s use of colour and symbolism is effective – from the dull and greying streets of New York City, to the wealthy green associated with Oliver Warbucks’ stately mansion, and the decadent purple of a luxurious Manhattan. A particular standout is the playful use of cultural artefacts to emphasise Warbucks’ immense wealth (in case you ever forgot he was a billionaire). Paintings by Monet, Picasso, and even Rodin’s sculpture of ‘The Thinker’ all make an appearance. Yet, a humble portrait clearly painted by Annie of herself and “Daddy” Warbucks is a poignant contrast to all the priceless works of art, underscoring the way he values her affection.
Meanwhile, Wilkinson’s grainy projections effectively evoke nostalgia for an old school New York City; while also indicating changes in the time of day, enhancing the sense of place and atmosphere.`
The production is technically strong, but there is a cultural satiation that strips some of the charm. It is difficult to pinpoint the cause, it could be the grandeur of the technical clashing against the simplicity of the story, or it could be that the naivety of Annie struggles to find relevance unless purely viewed through a lens of nostalgia.
The story lacks authentic points of relatability, and offers little that resonates specifically with an Australian audience. Interestingly, Meehan was inspired to write the book during the Nixon era, a period marked by pessimism, deliberately using the Great Depression as a backdrop to promote optimism and hope. Yet, despite contemporary parallels to the historical period (scenes of a billionaire pestering the president to save his business empire have a particularly strange flavour in 2025), the production relies heavily on intergenerational affection for the material, providing little more than a saccharine sense of optimism.
But perhaps, it is not on Annie's shoulders to effectively explore universal issues. Annie is the chicken soup of theatre: warm and comforting. The production is a good introduction to the wonder of stagecraft for children, and a great reason for a night on the town for families. So get up and get dressed, but remember – you’re never fully dressed without a smile!
Annie is presented by John Frost for Crossroads Live, playing at Sydney’s Capitol Theatre until June 21, 2025, before touring to Melbourne and Brisbane. Tickets are on sale over here.
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