Review: The Carrollwood Players Production of ANNIE

The musical ANNIE gets a bad rap.  Many people misguidedly think of it as some frothy, feel-good throwaway show with nary a bad thought in its head.  But the truth is, the scrappy title character may be a bit too cheery and optimistic for some audience members—betting her bottom dollar that the sun’ll come out tomorrow—but the musical itself, when done right, is a tough-as-nails look at abused tart-tongued orphans finding a way to somehow survive in the dark, dour Depression. But yes, Annie as a character has the golden touch, almost becoming a ragamuffin superhero of sorts,  that eventually saves her fellow foundlings as well as melts the heart of a blowhard billionaire and his servants, and by the end inevitably rescues an entire nation mired in economic crisis.  The world of ANNIE is rightfully big, loud and tough; there’s a reason one of its most iconic songs is called “Hard-Knock Life.”

Based on “Little Orphan Annie,” the beloved comic strip from the 1930s, ANNIE, with music by the remarkable Charles Strouse, lyrics by Martin Charnin, and book by Thomas Meehan, is terrifically written, with characters we get to know and love, each one having his or her own character arc. The songs are memorable (sometimes too memorable, leaving helpless viewers humming the score on their ride home, which is not a bad thing at all); the Depression Era kids and adults are rendered with so much heart and given sensational lines of dialogue; and it’s impossible not to leave the theatre without feeling better than when you first entered it.  The musical earns every one of its feel-good vibes.

The Carrollwood Players’ current mainstage production of ANNIE has so many things going for it, but it’s also very hit and miss with moments that make us soar and moments that make us cringe.  

How lucky is it that the part of Annie is played by someone with the same name (just differently spelled): Anny DePolis.  She has an incredibly polished presence and sings with so much gusto.  She certainly has Annie’s voice down pat, and she’s an absolute joy to watch onstage.   I just wish she didn’t clip the ends of several notes in some of the more famous songs that she’s belting, songs where we’re actually waiting for that final note; this was probably done in order to avoid pitchiness, but Ms. DePolis is so strong an actress and singer that she probably can nail those notes if given the opportunity.

But Ms. DePolis carries the entire show on her young shoulders and should be very proud of her work.

One of the scenes in ANNIE that we always wait for is the moment Annie finds a stray dog, Sandy.  I have seen productions where they have a little child play Sandy (never a good idea, not even in the Junior version of the show). In this production, not only do they use a real dog, but they use a dog with total star quality.  Played by Little Sue, a four-year-old Yorkie/Lhasa Apso mix, she is adorable during Ms. DePolis’ performance of “Tomorrow,” sitting up on her hind legs and begging for treats.  I have seen productions where dogs have barked their way through the song or, yes, worse (I once directed a production of it where the dog decided to relieve itself during this number, much to the amusement of the audience; we had to have the dog catcher eventually clean it up).  But not here: Little Sue is a total professional; I just hope stardom doesn’t go to her furry head. 

As Miss Hannigan, Annie’s nemesis and the show’s main antagonist, Culver Casson pulls out all stops and brings out her inner Andrea Martin.  “Did I hear happiness in here?!” she screams at one point. It’s an odd performance, certainly over-the-top, reminding me of the unique synthesis of Joan Rivers and Gloria Swanson as Norma Desmond. 

Jeremy Garrett is making his Carrollwood Players debut as Oliver Warbucks.  With his hair slicked back, he resembles a young Richard Nixon, and in a pin-striped suit, comes across as a gangster rather than a billionaire industrialist.  He does say a line about President Roosevelt that caused audience members to laugh: “I know he’s a Democrat…but he’s a human being too!”

As his assistant, Grace Farrell, Christy Adams is a lovely presence, with the best facial expressions you’ll find.  She has a tremendous stage presence and stands tall as one of the stronger members of the cast.  

Liam Lencsak is an adrenalin-pumping hoot as Bert Healy.  And Jinx Lopes, Savannah Wardell and Lauren Lavery are stunning as the Boylan Sisters, their vocals wonderfully accomplished and their individual personalities coming through the whole time (rolling their eyes while having to hear Annie’s plea to find her parents on a radio show); these little tidbits, individual character quirks in ensemble members, are what I love most.

The hard-working ensemble also includes Teresa Castellano, Zane Sarsour and Jonathan Virga. 

The orphans are an adorable lot, having the time of their lives onstage in songs like “Hard Knock Life” and “You’re Never Fully Dressed Without a Smile.”  Juliette Desmarais, Aubrey Ford, Layla Ford, Jayde Emily Peterson, and Adina Polley are the talented ladies who bring these tots to life.  Special mention must go to Kaiya Bistany Charles as Molly, who stands out in an orphanage of standouts.   

Jim Gunning proves to be one of the best in the cast as a police officer and as a very confident FDR.  Mr. Gunning shows that it doesn’t matter the size of a part to steal a show. 

Annie Elise does a fine job as Lily St. Regis (she’s also responsible for the costumes, which work well here). And Donal Duffy gets my vote for the best in the entire cast as Rooster Hannigan.  When Mr. Duffy is onstage, the show automatically sparks to life, immediately jolting the proceedings from Level 5 to Level 10.  He has a confidence and exudes such joy in performing that I wish other cast members would emulate.  Sensational work, especially with the song “Easy Street.” 

Music director Tristan J. Horta gets a lot out of the youngsters in the cast and especially from the marvelous Boylan Sisters, but some of the other vocals don’t quite make it; the audience cringes when a performer’s voice strains or when he or she hits a clunker of a note.  Also, in most productions of ANNIE, Daddy Warbucks’ big Act 1 solo, “Why Should I Change a Thing,” is not included; it’s added here, and like “Don’t Go” that sometimes creeps into productions of Cabaret, it stops the show dead in its tracks.

The set is a low-rent affair, and I expected more for a show like ANNIE.  I’ve seen past CWP sets that have blown me away, and ANNIE is the type of show that deserves this kind of care.  Here, we have some painted flats and, with the exception of a colorful NYC skyline on a back wall, just black curtains. 

There was a moment during the Ed Healy radio show where the dangling ROXY sign from the song “NYC” comes crashing down over the Boylan Sisters; for a moment there, it seemed like we had ventured into The Play That Goes Wrong: Annie Edition. 

I also believe that the orphans should have actual beds instead of sleeping on the floor.  First of all, beds, or even bunk beds, would look better, and secondly, people in the back of the theater would be able to actually see the performers.  As it stands, when the show opens, audience members sitting near the rear hear disembodied voices because they can’t see the younglings on the floor in these key first moments. 

Director Keven Renken guides the show with lots of love. There may be a messiness to the musical numbers on opening night, but it’s ANNIE, a show that makes you feel good in the end no matter what, so who cares?  It’s about finding your place in the dark world and that dreams really can come true for anyone, even an orphan runaway.  We live in tough times and so ANNIE, both the show and the character, becomes a tonic of sorts to get us through them.  Putting any of my misgivings aside, is this ANNIE entertaining and will audiences get their money’s worth?  You bet your bottom dollar!    

The Carrollwood Players’ production of ANNIE runs thru September 28th. It’s already selling out, so get your tickets now!

Photo courtesy of Beth Behner.

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