BWW Reviews: ANNIE Takes Over the Stage in Chambersburg

Cast of ANNIE. Photo by Crystal's Candids.

Has ANNIE really been around for nearly 40 years? It always seems newer than that, no matter how tired we may be of bad televised auditions of kids without talent belting "Tomorrow" at the top of their lungs, something so common now that it was used in the first few episodes of "Boston Legal" as a plot device, and the sight of bushy orange Annie wigs has become irksome. Charles Strouse and Martin Charnin's music and lyrics are ubiquitous, and there are some years the show plays absolutely everywhere - it's been done around half a dozen times in the past theatre season alone in this region. Chambersburg Community Theatre, however, has been able to avoid the clichés and the pitfalls and to produce something that's a cut above the usual community production of what is really a much harder-to-produce show than it looks.

Director Shawn R. Martin presented CCT's ANNIE at the Capitol Theatre in Chambersburg with one of the most crucial things for a good production of ANNIE - some real chemistry between the Orphan herself and billionare Oliver Warbucks. The show has to have the right chemistry, because all too often Warbucks, who's unhappy to see a girl in his house, immediately falls for the adorable child. Care's got to be taken that he doesn't fall so hard and so fast that the adoption question doesn't feel weirdly like a proposal, and the wrong pairing only feeds into that. But Torrence Brown's Annie, who's sporting lovely red real curls, not a clown wig, feels genuine. Brown's got stage presence, and should have it in her twelfth production at age 10, and she can sing; she's also not too cloyingly sweet. Lee R. Merriman's been on stage since 1964 - all right, he started at 3, so it's not that bad - and has the experience to keep Oliver Warbucks the sort of guy who eats nails for breakfast and who isn't ready to fall all over Annie's adorable curls in thirty seconds or less. Their initial meeting is wary, their later ones increasingly thawing, the way you'd expect the awkward arrangement to be in real life.

Equally real? Stephanie Allee's no-nonsense Grace Farrell, smart and classy but streetwise, and Rachel Kern's Miss Hannigan. Those are two parts that often fall into bad clichés as well - Farrell as in love with her boss, Hannigan as a drunken fool, but CCT has avoided both of those as well. Kern is a delight next to most Hannigans - she's got a healthily bad attitude, a hatred of bureaucracy that may be larger than her dislike of little girls, and a look of chronic dyspepsia that's a thing of beauty in expressing her sheer frustration with her life. Allee's Farrell is competent, honest, and a step ahead of her boss, where a good assistant always needs to be. They're actually supposed to reflect two models of working women in the 1920's and 1930's (one of whom is not coping well at her career), not to be funny puppet characters, and these two women bring those models to life.

The orphans are as adorable as the orphans always are, although this crowd can also act - their "Hard Knock Life" is sung as well as it's staged. Hannigan's "Little Girls" is a cut above most performances, reminiscent of Sally Struthers' delivery of the number. And, of course, a nod goes out to this production's Sandy, the charming Bailey. Like most community production performers Bailey has a day job, his as a therapy dog, but he knows what to do on a stage and is a veteran Sandy, having played the part in the past.

One of the best points of this particular production has been the costuming. Annie's wardrobe isn't merely rags and party dresses, and her dresses are clearly period children's wear. The adult costuming is similarly on target, and Vicki Gontz and Trish Keifman deserve praise for getting everything so right. Even Grace Farrell's evening dress asks to be a Constance Bennett movie dress, it's so perfectly period. Rachel Kern's set design is similarly fine, and proves that the old-fashioned backdrop set can still work perfectly on a Modern Stage. The Warbucks house set is particularly nice.




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Marakay Rogers America's most uncoordinated childhood ballet and tap student before discovering that her talents were music and writing, Marakay Rogers finally traded in her violin for law school when she realized that she might make more money in law than she did performing with the Potomac Symphony and in orchestra pits around the mid-Atlantic.

A graduate of Wilson College (PA) with additional studies in drama and literature from Open University (UK), Marakay is also a writer, film reviewer and interviewer for the Wilkes-Barre (PA) Independent Gazette, science-fiction publications, and other news outlets, and is listed in Marquis' "Who's Who in America". As of 2014, she serves as Vice-Chair of the Advisory Board of the Beaux Arts Society, Inc. of New York. Marakay is senior theatre critic for Central Pennsylvania and a senior editor for BWWBooksWorld as well as a classical music reviewer. In her free time, Marakay practices law and often gets it right.


 
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