Sparkling, silly and effortlessly funny, Annie proves that a bit of musical magic and a cute dog can fix just about anything. Rating
Good!
It may be a hard-knock life for Annie, but it’s not for me, after last night at the New Wimbledon Theatre. This vibrant revival of the classic family favourite dazzles, boasting incredible choreography and a scintillatingly talented cast, led by none other than drag icon La Voix. Whilst revisiting Annie as an adult means it’s hard to ignore the bizarreness of its plot, the sheer charm of the production acts as the audience’s equivalent of Miss Hannigan’s gin – blurring the narrative flaws so that everything seems bright.
Stepping into one red heel of Miss Hannigan (and hilariously styling out losing one of them mid-crash-out) is the irresistibly funny La Voix, immediately shaking up expectations of the typically malevolent orphanage leader. Instead, she’s a lazy, unbothered mess, whose desperation for a man and raging alcoholism almost make us feel sorry for this anti-matriarch. Or, at least, makes us want to set up a Tinder profile for her. It’s a bold, captivating choice, setting this production apart from other renditions of Annie – but at times, it clouds her initial motivations for hating Annie. Why wouldn’t she be ecstatic about her finally leaving the orphanage? That said, this is most likely a product of the original text, which doesn’t justify this softer version of Miss Hannigan’s animosity towards Annie, beyond her being overly earnest.
A similar issue hits Alex Bourne’s Daddy Warbucks, whose trademark initial coldness seems to last for half a scene, but then is replaced with an adoration for Annie that is usually only reached later on in the story. Without the slow burn of unexpected friendship, their relationship felt a little unearned. Watching the story with modern – and a touch cynical – eyes, some adjustments are needed. A middle-aged billionaire becoming obsessed with a young girl can feel a bit jarring. Fortunately, the on-stage dynamic between Bourne and the brilliant Victoria Alsina rescues the narrative. Their on-stage rapport is genuinely heart-warming and authentic to watch.
Tanisha Mae-Brown’s Miss Farrell is also a stand-out, bringing an elegance and grace to the role that truly shone. She’s matched in talent by the delightfully mischievous Rooster and Lily, a duo brought to life by Christian Cooper and Amber Kennedy, and flanked by the formidable flock of orphans, with a particularly impressive performance from the youngest kid in the gang, Jemima Lown.
The production’s in-and-out focus on 1930s American politics feels a tad incongruous at times, halting an otherwise whimsical tale. The scene with the President, when Annie sings ‘Tomorrow’ again, felt unnecessary: rather than landing as a witty nod to the adults in the room, it comes across as so on-the-nose that it almost warrants an eye roll and disrupts the momentum of the show.
Yet anytime the story wobbles, Nick Winston’s brilliant choreography steadies it again. The dance numbers are the heart of the production, the ensemble sparkling and slick, with each sequence flowing seamlessly into the narrative. That magic that I remember from watching Annie as a child lives and breathes in this element of the revival – a stellar encapsulation of the timeless wonder of musicals.
Maybe Something Was Missing, but Annie proves that with a Strictly star, choreography that could have been led by Craig Revel Horwood himself and a cute dog named Dizzy, the show doesn’t need to be technically flawless to be a success. This sparkling production is fun, silly and as uplifting as ever…and now I definitely want to go for a pink gin at Spoons with Miss Hannigan.
Director: Nikolai Foster
Associate Director: Michaela Powell
Producers: Michael Harrison & David Ian
Book: Thomas Meehan
Music: Charles Strouse
Creator, Lyricist & Original Director: Martin Charnin
Set & Costume Designer: Colin Richmond
Choreographer: Nick Winston
Orchestrator, Arranger & Musical Supervisor: George Dyer
Lighting Designer: Ben Cracknell
Sound Designer: Richard Brooker
Production Manager: Simon Gooding
Children’s Casting Director: Debbie O’Brien & Beth Eden
Wig, Hair and Makeup Supervisor: Betty Marini
Costume Designer: Chris Cahill
Associate Musical Supervisor: Joshua Griffith
Associate Choreographer: Megan Louch
Annie plays at the New Wimbledon Theatre until Saturday May 30
before continuing on a UK tour.
