Annie

As is to be expected for any production of Annie, there’s a buzz in the air – mainly from the excited parents, friends and teachers of the twenty-two little girls (eleven of whom appear each night) in the cast of this much loved musical. And it’s obvious they are not going to be disappointed as the band, led by Greg Crease, swings into the overture, the curtains open on the dormitory of the orphanage and ten little ‘orphans’, bright-faced and full of excitement rise to set the atmosphere for director Diane Wilson’s bright, energetic production.

Annie (played on opening night by Courtney Emmas) introduces the story line with a heart-warming performance of  “Maybe”, and, with the other orphans, stirs up the pace with an appealing rendition of “It’s a Hard Knock Life” cutely choreographed by Edward Rooke. Thus established, the production sustains pace and interest as it moves through the relatively many, but well-organised and discretely managed scene changes and songs that take Annie from the orphanage to Hooverville under the 59^th Street Bridge, the Warbucks Mansion and even the White House.

Emmas is sparkly as Annie, relating as convincingly with the new adults she meets as she does with her orphan friends. She has a strong voice and an appealing smile – and deals well with having to sing and sustain character while managing any upstaging by ‘Sandy’ the dog. This is a demanding role for any 12-ish year old and Emmas manages the characterisation, singing, dancing and emotion with mature aplomb (her colleague, Annie Henderson, will no doubt be just as entertaining as she takes on the role in alternate performances).

The young performers are supported by a strong cast, whose experience underpins the tempo needed to sustain the pace required by the play – and the director. Wilson’s blocking is relatively tight, and she has choreographed the scene changes so that they are as smooth as possible, no mean feat when there are so many, and there is such a big cast to manage as well.

Leonie Johnson takes on the role of the scary, slightly tiddly, Miss Hannigan, supervisor of the orphanage. Johnson’s comedic skill and physicalisation of the role make Hannigan a crowd pleaser, from her sneery rendition of “Little Girls’ to her lively delivery, with co-conspirators Rooster (James Russell) and Lily (Coco Bevan), of “Easy Street”. These the three performers take over the stage in this catchy, humorous moment of the show.  Russell and Bevan are suitably sleazy as the scheming twosome, especially when they try to convince Warbucks that they are Annie’s long-lost parents.

Hannigan’s bête noire is Warbuck’s secretary, Grace Farrell, who gives Annie the care and understanding than Hannigan denies her. Margie Dowling plays this role with warmth and charm. She is tall and elegant and establishes an immediate rapport with Annie – and the audience. She wears her lovely costumes with flair – and sings pretty powerfully too. Her poise and perceptive stage awareness are assets to the production.

Simon Fry plays Daddy Warbucks with lots of dramatic pomp. He also establishes a nice relationship with Annie , which he consolidates in a particularly moving rendition of “Something Was Missing”. Their duet, “I Don’t Need Anything But You”, sung with the backing of the Warbucks’ staff, is a lovely finale to Annie’s search for a family.

Stage Whispers’ editor Neil Litchfield finds the limelight in the second act as the innovative depression president Roosevelt. Despite the confines of the Presidential wheelchair, he uses his commanding voice to find the authority, power and compassion of the role. It is good to see him back on the stage again in a role which he obviously is enjoying.

Alana Annie Boersma, Ben Dodd, Christopher Griffith, Amanda Griffiths, Cameron Lewis, Jessica Lewis, Wendy Lindsay, Arthur Pickering, Phillip Plunkett and Dale Selsby take on a variety of roles and provide a rousing chorus behind the leading characters. All proficient performers, they make some remarkably quick character and costume changes. Whether as ‘down-and-outers under the 59^th Street Bridge thanking Annie for her optimism, or the staff of the Warbucks Mansion, or the folk at NBC Radio Station – or in a variety of small, but very well-played cameo roles – they are an intricate part of the production.

Costumes are always a feature of BTC productions, and Annie is no exception. Every costume is period-appropriate, from the orphans cover-all pinafores, to Lily’s over-the-top boa and Miss Farrell’s modish tartan cloak ensemble. Warbucks’ staff are immaculate in matching uniforms which they wear with appropriate style.

As well-known and as oft’ produced as it is, Annie is not an easy musical to direct, including as it does the two things from which most directors shy away – children and animals. But Diane Wilson has taken both in her stride. On an unusually shaped stage, with not a great amount of wing space, her twenty seven cast and fourteen stage crew (including four child supervisors and a dog handler!) do their director and the company proud.

Carol Wimmer

Photographer: Ray Parkinson

www.bankstowntheatrecompany.com