Approaching a night out at the theatre with the prospect of hundreds of children restlessly squirming and crying aloud is not typically the idea of a great evening, yet when the nights' babysitter is Director-Lyricist
Martin Charnin and his perennial stage favorite
Annie, all despair is quickly dashed.
As the driving creative force behind the now 30-year-old musical that has spawned countless child stars, including
Andrea McArdle and
Sarah Jessica Parker, Charnin again returns to his beloved classic, currently at the Orange County Performing Arts Center, just off a holiday return to New York. There is no doubt that Charnin holds the little redheaded orphan dear to his heart, as the sparks continue to fly on stage and children's hearts are still warmed all these years later.
What began in 1976 as a show unfit for Broadway, according to New York Times critic Walter Kerr, later defying such a claim as bollocks by amazing audiences of all ages, has retained its luster while maturing beautifully as a fanciful romp through the Depression era in New York, and remains a favorite amongst the new crop of theatergoing youths.
Perhaps it is the instantly recognizable litany of tunes, "N.Y.C.," "Maybe," "Easy Street" and of course the bearer of all things optimistic, "Tomorrow," or maybe it is the cheeky nature of the title character. Whatever draws families out year after year to follow Annie on her quest for a family to call her own, this 30th Anniversary Tour does not disappoint.
The most recognizable of the cast is
Conrad John Schuck ("M*A*S*H," "McMillan and Wife") as Mr. Clean's more dapper billionaire-twin-brother Daddy Warbucks, who is no stranger to the role having performed as a replacement in the original Broadway cast as well as leading the 1997 revival. Schuck remains a vibrant force in the show, proving that his previous turns as Warbucks only ripened his loveable performance.
Warbucks, initially wanting to invite a male orphan to spend the holidays at his mansion, immediately falls in love with the infectious Annie (Marissa O'Donnell) after finding her under the auspices of wicked orphanage director Miss Hannigan (Alene Robertson), ultimately deciding to adopt the orphaned girl and provide her a life she only dreamed of.
With the help of his girl Friday, Grace Farrell (Elizabeth Broadhurt), Warbucks mounts a nationwide search for Annie's parents after discovering she still believes them to be alive, only to stumble upon the greedy duo Rooster (Scott Willis) and Lily St. Regis (Ashley Pucket Gonzales), who are hoping to capitalize on the reward by impersonating Annie's family. It is not long before the truth is revealed, thanks in part to F.D.R. (Allan Baker) and connections with the F.B.I., and Annie comes to find true happiness with Warbucks, Farrell and fellow orphaned dog Sandy (Lola).
Charnin has found another winner in O'Donnell (Off-Broadway's
American Girls Revue) as she brings a certain adolescent glee to the title role, never seeming too grown-up, as many child actors tend to do when the pressure mounts. O'Donnell retains her childish charm throughout the show, and delivers a lovely rendition of "Tomorrow," holding her own during the final drawn out note without belting too sharply. Her chemistry with Schuck is instantly felt and the two have the whole house cheering for their finding of true happiness in each other.
A welcome departure from the recent layover at New York's Madison Square Garden is Kathy Lee Gifford, who Charnin has replaced with a more aptly cast Robertson. The role of Miss Hannigan is just too deliciously snarky to hold up with a syrupy Gifford. Robertson plays the role with a broken down air of despair, wallowing in her drunken escape from poverty and the neediness of her orphans. She plays it so well in fact, that a few children attending the opening night performance were heard booing the character during the curtain call.
Lola, as the lost mangy dog Sandy, hits all her marks and often steals the thunder from her human co-stars. It might also be worth mentioning this canine diva understudied the role 10 years ago and was found at the same shelter the original Sandy was discovered in. It seems this dog knows her place in Annie stardom, and one only wishes there were more moments with her throughout the show.
The ensemble of orphaned girls each find a way to shine during the energetically staged "It's The Hard-Knock Life," leaving wonder as to any high jinks that might be carried on backstage. Perhaps there will be stories to tell as these young actresses reach adulthood, as is the case with previous Annie alums in the recent documentary, "Life After Tomorrow," which plays like a reunion of sorts with girls who performed in the show over the years.
Much of
Peter Gennaro's original staging is in tact, with current choreography by
Liza Gennaro, lighting design by Ken Billington, costume design by Theoni Aldridge and sound design by
Peter Hylenski. Tony Award winner Ming Cho Lee's updated set design is both fanciful and complimentary to the classic nature of the production. Warbuck's mansion, resembling an emerald encrusted palace sparkles on stage, while much of the design displays a more minimalistic approach.
Charles Strouse's music and
Thomas Meehan's book remain in tact and still provide all those involved in the production a bountiful framework for a top-notch revival.
Tickets to see
Annie at the Orange County Performing Arts Center are $20 to $70, and are available at The Center's Box Office at 600 Town Center Drive in Costa Mesa, by calling (714) 556-2787 or online at
www.ocpac.org. Performances run through February 11, 2007 in Segerstrom Hall.
Above Photos by Chris Bennion, below by Carol Rosegg
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