Review: ANNIE at Palm Canyon Theatre

Palm Canyon Theatre’s holiday-season production of “Annie” is a radiant reminder that optimism and heart can light even the darkest of times. Directed and choreographed by Se Layne, with musical direction by Linda Mack Berven, this beloved musical bursts with warmth, humor, and dazzling performances. Running November 28 through December 21, 2025, the production captures the spirit of the Great Depression-era story while infusing it with a fresh, contemporary energy that makes it feel timeless.

At the center of the show is Sierra Petrilla as the irrepressible red-headed orphan Annie, a role she shares with Karsyn Kemp on alternating weekends. Petrilla’s performance is nothing short of captivating. From her first appearance, she commands the stage with confidence and charisma well beyond her years. Her voice, clear and powerful, soars through the theatre in “Tomorrow” and “Maybe”; songs that can easily feel overfamiliar but here sound newly heartfelt. Petrilla’s Annie is not just plucky and hopeful—she’s grounded, intelligent, and deeply empathetic. Her interactions with the other orphans brim with authenticity, and her chemistry with Paul Grant’s Oliver Warbucks gives the show its emotional core.  Kudos to the production’s “Sandy”, Gypsy Rose Lee, who stole all her scenes (and never once bolted for the exit!)

Grant’s portrayal of the billionaire industrialist is a masterclass in transformation. His not-chrome-domed Warbucks begins as a brusque, business-minded man, all sharp edges and efficiency, but gradually softens into a figure of genuine warmth and paternal affection. Grant’s rich baritone lends gravitas to his musical numbers, particularly “Something Was Missing,” which he delivers with touching sincerity. His scenes with Petrilla are beautifully nuanced, balancing humor and tenderness in a way that makes their growing bond entirely believable. Together, they create a dynamic that anchors the production in emotional truth.

Tara Howard brings grace and poise to Grace Farrell, Warbucks’ loyal secretary and the show’s moral compass. Her gentle presence and crystalline vocals add a layer of elegance to every scene she’s in. Olga Morales, as the perpetually frazzled Miss Hannigan, delivers a deliciously over-the-top performance that walks the perfect line between comedy and menace. Her rendition of “Little Girls” is both hilarious and slightly tragic, revealing the desperation beneath the character’s bluster.

Anthony Nannini’s Rooster Hannigan is a standout, injecting the show with a burst of energy every time he appears. Nannini’s portrayal is slick, charismatic, and delightfully conniving, his dance work particularly impressive in the show-stopping number “Easy Street.” His physicality and rhythm bring a vaudevillian flair to the role, and his chemistry with Jessica Inserra’s Jersey maven Lily St. Regis is electric. Inserra matches him step for step, her comedic timing sharp and her vocals bright and playful. Together with Morales, their trio in “Easy Street” is one of the evening’s highlights—a perfectly choreographed blend of humor, movement, and musicality that had the audience cheering.

The ensemble of orphans—Isla Gurnon (Duffy), Bogdona Koltsova (Mae), Radmira Koltsova (Tessie), Leilah Mendivil (Pepper), Brenda Meza (July), Brooklyn Park (Kate), and Kaia Petrilla (Molly) along with Karsyn Kemp the night I saw the show—bring infectious energy and charm to the stage. Their group numbers, particularly “It’s the Hard Knock Life” and “You’re Never Fully Dressed Without a Smile,” are executed with precision and enthusiasm. Each young performer contributes a distinct personality, creating a believable and endearing sisterhood that radiates joy.

Tom Warrick’s dignified Franklin Delano Roosevelt, Donald Kelley’s stoic Drake the Butler and Stephen Giboney’s exuberant Bert Healey round out the adult ensemble with strong performances. Warrick’s scenes in the White House sequence are handled with warmth and humor, while Giboney’s “You’re Never Fully Dressed Without a Smile” is a buoyant burst of old-fashioned showbiz charm. One bone I must pick however, for those familiar with the cabinet meeting scene with FDR, is that the role of Frances Perkins was ret-conned as a man for some reason that is unclear.   When one is portraying real historical figures, to my mind at least, you need to remain faithful to that real person to the best degree possible.  Frances Perkins was the first female cabinet member in American history and was central to the establishment of Social Security, the 40-hour work week and the social safety net (that seems now to be slipping through our fingers due to the actions of our current administration...a-hem).  With the plethora of female talent available on that stage, there isn’t a reason to my mind to make that choice.

Visually, the production is a feast. Derik Shopinski’s costume design captures the contrast between the gritty realism of the orphanage and the opulence of Warbucks’ mansion. The period details are impeccable—from the threadbare dresses of the orphans to the sleek suits and gowns of New York’s elite. J.W. Layne’s set and technical design were top notch, as always. Nick Edwards’ special effects and projections add a cinematic quality to the staging, seamlessly transporting the audience from the streets of Depression-era Manhattan to the grandeur of Warbucks’ world. The use of projections enhances the storytelling without ever overwhelming it, creating a sense of scale that feels both magical and grounded. Particularly poignant and unique to any version of the show I have ever seen, was the use of a newsreel video at the top of the show to show the breadlines and destitution of 1930’s New York.  Very well done, Nick!  It brought the audience into the depression era directly.

Se Layne’s direction and choreography are cohesive and confident, balancing large ensemble moments with intimate character-driven scenes. The choreography is lively and inventive, particularly in the ensemble numbers where movement and storytelling intertwine effortlessly. Layne’s staging of “Hard Knock Life” is a visual and rhythmic delight, capturing the angst, anger and frustration of the orphanage experience.

Linda Mack Berven’s musical direction ensures that every vocal performance shines. The choice to use recorded orchestration with live piano augmentation by Ms. Berven was the wise choice, delivering a full, rich sound that supports the singers beautifully. The balance between voices and accompaniment is finely tuned, allowing the lyrics and emotional nuances of each song to come through clearly.

What makes this Annie truly special is its heart. The production never loses sight of the story’s central message—that hope, kindness, and love can triumph even in the bleakest circumstances. Petrilla’s radiant optimism, Grant’s emotional depth, and the Hannigan’s dynamic showmanship combine to create a production that feels both classic and freshly alive.

By the time the cast gathers for the rousing finale, the audience is fully swept up in the show’s spirit of joy and renewal. Palm Canyon Theatre’s Annie is more than just a holiday treat—it’s a celebration of resilience, family, and the enduring belief that “the sun’ll come out tomorrow.” 

“Annie” runs Thursday, Friday & Saturday, through December 21 at 7:00 pm (Thursdays) Friday and Saturday at 7:30pm, Sundays at 2:00pm.  Tickets can be purchased ONLY at palmcanyontheatre.net or by calling the box office at (760) 323-5123.  The theatre is located at 538 North Palm Canyon Drive, Palm Springs.

Palm Canyon Theatre continues their 2025-26 season slate:

MERRY & BRIGHT (Dec 17) Palm Canyon Theatre will present a special holiday concert, Merry & Bright, with many favorite company performers. The evening will get people in the holiday spirit as talented vocalists perform many beloved holiday favorites and some fun, unconventional seasonal tunes. The musical show is directed by Derik Shopinski. Virginia Sulick serves as the evening’s mistress of ceremonies. During the concert, Palm Canyon Theatre will host a toy and food drive to benefit the LGBTQ Community Center of the Desert's Community Food Bank.

HAIR (Feb 6 - Mar 1, 2026) Hair captures the spirit of the 1960s counterculture as a tribe of young hippies fight for peace, love, and identity in a turbulent era. This vibrant rock musical is bursting with freedom, rebellion, and powerful anthems. Raw, revolutionary, and electric—Hair still resonates with its call for change.