Past Reviews

Regional Reviews: Minneapolis/St. Paul

Annie
National Tour

Also see Arthur's reviews of Fruit Fly: the Musical and The Debutante's Ball


Gilgamesh Taggett and Issie Swickle
As Annie, the irrepressibly optimistic and endearing redheaded orphan assures us, "The sun'll come out tomorrow." Truthfully, I doubt that there has been a day since its Broadway opening in spring of 1977 that that rising sun has not shone on Annie. This hugely popular musical ran almost six years on Broadway and has been revived on Broadway twice, made into two movies, a television special, and regional, community, children's, college, high school, junior high, and grade school productions more numerous than the freckles dotting the faces of Annie and her orphan pals.

So it should be less than breaking news that a production of Annie, based on the most recent Broadway revival, arrived this week at the Orpheum Theatre as part of Hennepin Theatre Trust's Broadway in Minneapolis season. Guess what? Breaking news: Annie is still terrific, and this production epitomizes all the reasons it has had such staying power. It has great performances all around, old-fashioned songs that manage to sound fresh played with élan, a story that tugs at the heart, while delivering a healthy dose of laugh lines, elaborate sets that seem to dance along with the characters, and beautifully realized period costumes. It's enough to drive a guy to say "Leapin' lizards!"

If you've somehow missed having a date with Annie, the title character is a plucky orphan in New York City, during the Great Depression. Annie hangs on to hope that her parents will come back to claim her from the wretched orphanage run by the even more wretched Miss Hannigan. When she is chosen to spend the Christmas holidays with Oliver Warbucks, the world's wealthiest man, Annie opens his eyes to a happiness that all his billions never gave him. His decision to adopt Annie is deterred when she tells him her dream of finding her real parents. Warbucks calls on his influential friends, Franklin D. Roosevelt and J. Edgar Hoover, to aide in the search to make Annie's dream come true.

Meanwhile, Miss Hannigan is apoplectic over Annie's good fortune, while she is trapped in a mangy orphanage, barking orders at little girls and turning to an ever-present flask for comfort ("It's medicine," she sneers to an orphan giving her a questioning look, who replies, "You must be very sick."). Hannigan, her low-life brother Rooster, and his floozy friend Lily St. Regis conspire to use Annie's new-found position to line their own pockets. Of course, this being a musical—of the strictly feel-good variety—there is never a doubt that Annie will end up safe and sound. Still, the plot is well enough constructed to hold our interest, keep us laughing, and exercise the tear ducts a bit.

For Annie to work requires robust performances by actors who unabashedly play out the sentimental story with complete sincerity. At the center, a great Annie is called for, and Issie Swickle, making her tour debut, answers that call. This nine year old plays Annie with terrific gusto, conveying a range of emotions, singing with clarion tones, and dancing with aplomb. She is the real deal. Along with a solid Annie, a believably vile Miss Hannigan is needed, and Lynn Andrews fills that bill handily. She displays great comic timing, handles the physical comedy deftly, and sings like a red hot mama. Finally, a strong Oliver Warbucks is required, one who convinces us that this titan of industry can become both capable and worthy of giving Annie a loving home. Gilgamesh Taggett is just the guy, with both the physical presence and mental composure to establish Warbucks' initial steeliness before he lets us see his heart melt. By the end, his face has acquired a glow, his body a lilt that convey the joy that has entered his life as much as any words.

Garrett Deagon plays Rooster with a great blend of con-man bluster and dopiness, that latter well-matched by Lucy Werner's turn as Lily. Together with Andrews, they perform one of the best of the show's musical numbers, "Easy Street," vocalizing their longing for the easy life with jubilation, and moving with the greatest of sleaze. Ashley Edler gives Warbucks' secretary Grace Farrell just the right amount of warmth to tip the balance away from her inherent prim efficiency. Allan Barker is a perfectly starchy FDR, all six of the orphan roles are cast with terrific little troupers, and the entire ensemble gives luster to each and every role, sings beautifully, and moves with jazzed up grace.

Annie has many catchy, memorable tunes. In addition to "Easy Street," there is the iconic anthem "Tomorrow"; the yearning "Maybe" that expresses Annie's hopes for a real family; the bubbly "You're Never Fully Dressed without a Smile", a delightfully staged live radio performance mimicked by the orphans listening at the orphanage; Miss Hannigan's descent into madness provoked by "Little Girls"; and "NYC," which uses the romance of New York City as a backdrop for the blossoming affection between Warbucks and young Annie. The down and out residents of a makeshift Hooverville provide a sardonic account of the times in "We'd Like to Thank You, Herbert Hoover." The orphans' bouncy lament "Hard Knock Life" never fails to win favor. Even the title number, "Annie," though not a great song, prompts cheers as it gives Annie a classic diva entrance, complete with a high-stepping descent down a grand staircase.

The choreographer of this Annie is Liza Gennaro, daughter of the late Peter Gennaro, who created Tony winning choreography for the 1977 original. The best dances are performed by small groupings—the three villains slinking to "Easy Street," the six orphans giving their all to "Never Fully Dressed without a Smile," and Annie and Warbucks celebrating together in "I Don't Need Anything by You." "NYC" includes a clever line of dancing ice skaters. Even when the dancing is less pronounced, the stage is always full of movement, constantly maintaining its energy and momentum.

Lyricist Martin Charnin has directed the entire production, and he clearly loves this material. Every detail sparkles, the scene changes are seamless, the performers play off each other as believable characters, and not the cartoon from which the show drew its original inspiration. The beautiful costumes are dowdy when dowdiness is called for, elegant when elegance reigns. Even the accents are spot on. The show also features the most agreeable live animal I have seen on stage for quite some time.

Annie first appeared a few years after the Vietnam War and Watergate had blanketed the American spirit with cynicism. The optimism imbedded in Annie, the eternally hopeful girl, and Annie, the musical, were just what the public needed, as it rode a crest of enormous popularity. Though that was a couple of generations ago, we still hunger for a dose of optimism, perhaps more than ever. I have to believe that as long as the sun continues to come up, somewhere under its rays Annie will be giving its all to keep us believing that everything will turn out happily—tomorrow.

Annie runs through April 5, 2015, at the Orpheum Theatre, 910 Hennepin Avenue, Minneapolis, MN. Tickets: $29.00 - $99.00. For tickets call 612-859-SHOW (7469) or go to www.hennepintheatretrust.org. For more information on the tour, visit www.anniethemusical.com.

Book: Thomas Meehan; Music: Charles Strouse; Lyrics and Direction: Martin Charnin; Choreography: Liza Gennaro; Set Design: Beowulf Boritt; Costume Design: Suzy Benzinger; Lighting Design: Ken Billington; Sound Design: Peter Hylenski; Hair, Wigs & Makeup: Luc Verchuren for Campbell Young Associates; Animal Trainer: William Berloni; Casting: Joy Dewing Casting; Music Supervisor, Music Director & Additional Orchestrations: Keith Levenson; Associate Music Director: Kelly Ann Lambert; Music Coordinator: Talitha Fehr; Technical Director: Randy Moreland; General Manager: Townsend Teague; Production Manager: Ryan P. Murphy; Executive Producer: Randall A. Buck

Cast: Lynn Andrews (Miss Hannigan), Allan Baker (FDR), Cameron Mitchell Bell (Dog Catcher, Eddie, Bert Healy, Henry Moganthau), Amy Burgmaier (Sophie the Kettle, Mrs. Pugh, Frances Perkins), Angelina Carballo (July), Christina Carlucci (Annette, Ronnie Boylan), John Cormier (Apple Seller, Buddy the Sound Effects Man, Harold Ickes), Brian Cowing (Bundles, Fred McCracken, Louis Howe), Adia Dant (Pepper, Annie at select performances), Garrett Deagon (Rooster Hannigan), Ashley Edler (Grace Farrell), Todd Fenstermaker (Drake, Jimmy Johnson), Lillybea Ireland (Tessie), Jake Mills (Lt. Ward, Cordell Hull, Judge Brandeis), Meghan Seaman (Cecile, Star to Be, Connie Boylan), Sydney Shuck (Kate), Lily Emilia Smith (Mrs. Greer, Bonnie Boylan), Lilly May Stewart (Molly), Issie Swickle (Annie), Gilgamesh Taggett (Oliver Warbucks), Isabel Wallach (Duffy), Lucy Werner (Lily St. Regis), Macy/Sunny (Sandy).

Swings: Evan Mayer, Angela Palladini, Chloe Tiso


Photo: Joan Marcus


- Arthur Dorman


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