Annie

For whatever reason, I didn’t get to review Annie’s Melbourne Opening. This was a blessing in disguise. Critics generally see a show in the midst of an invited audience of celebrities and/or prominent guests. Rarely do we experience a performance with Mums and Dads and kids, all excited theatre-goers; what a difference that makes.

The story of an orphan girl with nothing to give but love who triumphs over adversity is universal and speaks to every one of us who lives in the real world, whatever “real” is these days. The fact that it is set during the Great Depression in America somehow makes it more poignant and credible, and much easier for an audience to connect with.

Connection is what good theatre is about, and Annie is surely the most joyful, uplifting theatrical experience of this … or any … century.

This new production doesn’t let the audience down; it elevates them with an emotional connection that was evident in every child’s face, and every parent’s smile. It’s a stunner!

Karen Johnson Mortimer directs her cast with empathy, skill and precision. And what a cast it is. Dakota Chanel is a perfect Annie, feisty, confident and caring. She makes her two big songs, “Maybe” and “Tomorrow” her own, imbuing them with more poignancy than we are used to.

Added to this are amazing performances from the orphans themselves. It would be churlish NOT to acknowledge them by name: Duffy: Sophie Isaac; Tessie: Ava Kroussoratis: Pepper: Harper Pasco; Kate: Marli Lee; Molly: Bibana Brudan; July: Calliope Xintavelonis; Friday: Leah Cooper. Troupers and stars in the making, every one of them.

Debora Krizak is a fine performer who is a stalwart in our theatre scene. She plays Miss Hannigan without pity or compassion, and it works, but I must concede I still have a soft spot for the subtlety and underlying warmth of Jill Perryman in the original Aussie production.

And it’s Jill and Kevin Johnston’s (the original Rooster) grand-daughter Mackenzie Dunn, who brings a wonderful freshness and energy to cartoon like Lily St Regis. A show stopping performance from Keanu Gonzalez (what a dancer) as Rooster Hannigan totally redefined the character, and Amanda Lea Lavergne as Grace added real warmth and stage presence throughout. There were shrieks of excitement when Wiggle Greg Page appeared as President Roosevelt, but he proved to be perfectly cast, and his signature finger wiggle in the finale brought cheers.

And then there’s Anthony Warlow as “Daddy” Warbucks. What can one say. Australia has only a few true International Superstars of Musical Theatre, and Warlow reigns now in the character lead roles. I could use words like charisma, finesse, quality, charm, but they aren’t enough. The voice is still mellifluous, as great as ever, but the warmth, the stillness when needed, the connection with peers and audience, they just keep getting better with age. He is quite wonderful.

The ensemble of triple threats is brilliant as always and Mitchell Woodcock’s choreography is excellent in all respects. The stellar band, under the leadership of David Piper does excellent work on a score that includes the aforementioned Annie songs, plus the bluesy “Easy Street” and the swing “NYC” … it’s a great score played beautifully.

You don’t have to wait till Tomorrow for the sun to come out, it’s right here, now, in this must-see show. Simply fANNIEtastical!!!

Coral Drouyn

Photographer: Daniel Boud