Theater Review by Ron Fassler . . .
In 1977, while I was still in college, I can recall reading an announcement that a musical based on the popular 1920s comic strip “Little Orphan Annie” was going to be produced on Broadway. I shuddered. I thought to myself, “I could save those investors some money. Get out while you can.”
Well, its forty-seven years later and Annie’s back in its third New York revival, this time in a touring production that’s arrived at the Theater at Madison Square Garden for a special holiday engagement. Not many titles can boast this kind of popularity, but after taking home seven Tony Awards at the 1977 ceremony, Annie has since proven to be a worldwide phenomenon for almost half a century. The last time I saw the show onstage was in Los Angeles with my seven-year-old daughter who’s now thirty-three… time may fly, but somehow Annie remains ageless.
We all know the story, right? How an adorable moppet escapes the clutches of the ruthless Miss Hannigan, the nasty drunk in charge of a Depression-era orphanage in New York City and somehow winds up spending Christmas in the Fifth Avenue mansion of industrialist Oliver Warbucks. Little Annie manages to melt the heart of the billionaire bachelor and even inspire Franklin Roosevelt (a character in the show) to come up with the New Deal. As ridiculous as this two-line synopsis sounds, Tom Meehan’s book is fleshed out superbly and Charles Strouse’s music and Martin Charnin’s lyrics are as uplifting and charming as the best of any on the list of the Golden Age of Broadway. In fact, audiences at the time were truly grateful to return to this grand tradition as the 1970s had mostly been about the changes brought by Harold Prince and Stephen Sondheim, which for better or worse, made musicals like Annie almost obsolete.
It’s a pleasure to report that this new production, after touring the country for many months, is in fine shape; a perfect holiday treat for the whole family. And though Madison Square Garden’s space is an enormous one, this wonderful company fills it joyously so that even up in the cheap seats (or, in this day and age, shall we say cheaper seats?), kids of all ages are bound to enjoy it. Director Jenn Thompson, who appeared in the original Broadway company as Pepper (one of the orphans), does a marvelous job being true to the material and stages it with aplomb. She knows the show intimately and is able to draw excellent performances from the ensemble, in particular, Hazel Vogel, a spirted and spunky Annie who made me smile in remembrance of Andrea McArdle back in 1977 (I saw the show the night after it opened). Vogel sings well with specific relationships to all the other characters. No mere wind-up toy, this 4’6” twelve-year-old is the real deal.
To hedge their bets, the producers of this Annie decided to swap out the actress playing Miss Hannigan on its tour with a name actor for New York—insurance to make sure the theater’s thousands of seats get sold. They chose Whoopi Goldberg, whose following has given the box office a vital boost. However, it saddens me to report that the casting is to the detriment of the production. As opposed to everyone around her, Goldberg is giving a lazy performance. Out of sync with sluggish line deliveries, she only genuinely comes to life late in Act One during the showstopping trio “Easy Street.” Finally looking like like she’s having some fun, the feeling is fleeting as she glumly goes right back to walking through the part. The only good news is that with Goldberg’s Miss Hannigan failing to light up the stage, you realize that in spite of Dorothy Loudon winning a Tony as Best Actress, the role is a supporting one (the character is barely in Act Two). It was only through Loudon’s high energy and comedic genius that she elevated the part to a starring one and was able to stand out the way she did. Perhaps Goldberg needed more rehearsal time in order to get up to speed with the company and work up to the drive necessary to command the stage after being away for fifteen years. Whatever the reason, she comes up short.
Happily, Christopher Swan is giving a witty and authoritative performance as Warbucks. Julia Nicole Hunter is a feisty Grace Farrell, Warbucks’s right hand, and the teaming of Rhett Guter and Isabella De Souza Moore as Rooster and Lily are expertly sang, danced, and acted. Mark Woodard is properly ebullient as FDR and even smaller roles like that of the head butler Drake (Joel Newsome) and a beat cop (Stephen Cerf) provide well-drawn characterizations. Peter Genaro’s original choreography goes uncredited in the program, but there are homages to his work in the able staging by Patricia Wilcox. Wilson Chin’s scenic design feels robust for a touring production and the costumes (Alejo Vietti) and lighting (Philip S. Rosenberg) lend professionalism.
And a special shout out to dog trainer Charlotte Woertler, credited with the handling of Kevin, the seven-year old labradoodle who gives as disciplined a performance as anyone could ask for. To call this canine a scene stealer is an understatement. He’ll steal your heart as will Hazel Vogel’s sweetheart Annie. In the words of the show’s title song: “Since you came our way, It’s Christmas, Christmas every day.”
Annie runs through Jan. 5 at the Theater at Madison Square Garden, Madison Square Garden, 4 Pennsylvania Plaza, NYC. For ticket information, please visit: https://www.msg.com/calendar/the-theater-at-madison-square-garden-december-2024-annie.
Photos by Matthew Murphy.
Headline Photo: Hazel Vogel and company of the Annie national tour.
