Review: ANNIE at The Candlelight Theatre

Who doesn’t enjoy an evening of young musical theater performers strutting their stuff on a professional stage? Not me and certainly not the enthusiastic Opening Night audience of ANNIE now playing at The Candlelight Theatre.

Let’s begin by telling you that the cast of Orphans has two different groups of young artists. The Red Group was on for Opening Night - Sophie Hirwe (Annie), Olivia Cerulli (Molly), Keira Wiedenmann (Pepper), Delilah Edinger (Duffy), Madelyn Hanger (July), Emma Cerulli (Tessie) and Mirabelle Socha (Kate). The alternating Green Group includes Allyson Crane (Annie), Nora Vitalo (Molly), Kayleigh McArthur (Pepper), Allie Barden (Duffy), Eleanor Behan (July), Kelly Poss (Tessie) and Fiona Nielsen (Kate). While I only saw the Red Group perform, I am certain each group brings their own energy and top-notch skills to the stage.

I will also say that this review will be less in-depth than other reviews simply because I choose not to review young artists in the same light as adult performers, and because ANNIE is one of those classic musicals that doesn’t warrant a critical investigation but rather be taken as an opportunity for audiences to imbibe a light-hearted story of hope and fortitude.

ANNIE with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, is based on the 1924 comic strip Little Orphan Annie by Harold Gray. The show ran on Broadway for nearly six years after opening on April 21, 1977. However, ANNIE encountered hardship and difficulties much likes its main character before becoming a Broadway success. In its early stages at Goodspeed Opera House, ANNIE was met with unfavorable reviews which forced considerable rewrites, modifications and a new producer. ANNIE’s first lesson – you almost never get it right on the first try.

The simplistic story goes like this: Annie, an orphan, lives with other orphans in an orphanage run by the child hating, often tipsy Miss Hanigan. Annie carries with her two very dear possessions: one half of a silver locket and a note from her parents stating they will come back for her. These two small items are more than what the other orphans have and is what keeps Annie’s hopes alive. An orphan having hope drives Miss Hannigan absolutely bonkers. That along with Annie repeated attempts to runaway sustains the tension between Annie and Miss Hanigan. Annie escapes via the laundry delivery and finds herself alone, on the New York City streets, in December, during The Great Depression, wearing only a thin sweater. Leapin’ lizards!  Annie is unwavering in her optimism, especially since she has found a new friend, a stray dog she names Sandy. Annie’s freedom is not long-lived as she is returned to the orphanage by a police officer. While in Miss Hanigan’s office being chastised for her escape, Grace Farrell, the Assistant to local billionaire, Oliver Warbucks, enters the scene with the hope of treating an orphan to a Christmas holiday stay at the Warbucks mansion. Annie takes full advantage of the encounter and in short order lands herself a stay at the mansion. Warbucks isn’t thrilled to see Annie because he believes all orphans are boys. Warbucks soon decides an orphan is an orphan, and agrees to take Annie to the movies, but not until they’ve walked 45 blocks to take in the sights of NYC. Without a clear concept of the passing time, Grace returns to Miss Hanigan’s office with the news that Warbucks wishes to adopt Annie. While Miss Hanigan expresses her envy and rage at the news, her con artist brother, Rooster, and his girlfriend, Lily, join the fray and a scheme is hatched to swindle Warbucks. Warbucks promises Annie he will find her real parents, announcing the search on the Bert Healy radio show where he offers $50,000 to Annie’s parents upon their return. Rooster and Lily create disguises and pretend to be Annie’s birth parents using the personal information given to them from Miss Hanigan, a forged birth certificate and half of a silver locket. Just as Rooster and Lily are ready to leave with Annie and the check, the scheme unravels and they are quickly arrested along with Miss Hanigan as their accomplice. Annie is officially adopted by Warbucks and all is happy and bright.

In the title role, Sophie Hirwe does not disappoint. She is a lovely young artist with a powerful voice and notable acting abilities who will continue to shine and entertain as she matures. Oliver “Daddy” Warbucks is assuredly portrayed by Anthony Vitalo. Not too gruff, not too sweet – just right with an even emotional keel. Mr. Vitalo’s smooth singing voice fits the score perfectly. And for those wanting to know how much an actor will sacrifice for their art, Mr. Vitalo shaved his head to achieve the Warbucks baldness. No rubber caps for this man! (Thank goodness!) Sarah Mackus plays Grace Farrell with care and tenderness. Grace doesn’t have many solo singing opportunities which is unfortunate because I would like to hear more from Ms. Mackus. The Red Group Orphans are spirited and enthusiastic with all of them clearly showing they absolutely love being on stage.  

On the “villain” side, Candlelight favorite, Victoria Healy offers a fierce Miss Hanigan. From minute one, you know Miss Hanigan is a no-good, sleezy, unrepentant person with only the worst of intentions, especially towards the children in her care. Ms. Healy’s vocals are on point and exude the sheer disgust for “Little Girls.” Rooster Hannigan is energetically brought to life by Shawn Weaver. With his slick acting, lilting voice and absolutely fluid movement, Mr. Weaver is tailor made for the role of Rooster. A true triple-threat, my companion for the evening asked me if Shawn was made of rubber because when he moves or dances it looks as if he has no bones. The role of Lily St. Regis can be difficult since it shares all of the scenes with Miss Hanigan and Rooster. Emily Wick holds her own next to Ms. Healy and Mr. Weaver and never fades into the background.



Candlelight’s production employs an ensemble of nine adults to portray the various bit parts of Drake, Mrs. Pugh, Bundles, The Boylan Sisters, Bert Healy, etc. All do a fine job with their assignments. Tony Orr is well cast as Franklin D. Roosevelt.

The stage direction by Renee Dobson is serviceable having a few stagnant moments here and there. Music Director, Doug Lutz, prepared the cast well with no one looking anything less than confident while singing their solos or harmonies. The choreography of Anastasia Korbal is unremarkable. The large ensemble moments are bland while the incredibly simplistic dances for the orphans never provide an opportunity to challenge the young artists. Set design by Jeff Reim is creative and adequately illuminated by Matthew J. Kator’s lighting design. However, the Candlelight stage has a few dark holes which unfortunately left the cutest little orphan in the shadows for a solo moment. Period 1930s costumes are mostly appropriate. ANNIE is known for its iconic finale red dress, and this production keeps it correct and proper. Clayton Stacey put in overtime with all of the wig and hair needs for the show. I appreciate the choice to keep Annie’s red hair color but deviate from the curly mop style.

All in all, the production is worth your time. Get gussied up and spend an evening enjoying dinner, dessert and a show all while supporting live theater, working adult artists and some very talented young stars-to-be. 

  ANNIE
  Book by Thomas Meehan
  Music by Charles Strouse
  Lyrics by Martin Charnin
  Original Broadway Production Directed by Martin Charnin

  Stage Director: Renee Dobson
  Music Director: Doug Lutz
  The Candlelight Theatre
  2208 Millers Road
  Wilmington, DE 19810
  (302) 475-2313
  www.candlelighttheatredelaware.com

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