Review: ANNIE at Texas Performing Arts

There’s something remarkable about the resilience of a red-headed orphan with a shaggy dog and an optimistic song. Nearly five decades after its Broadway premiere, Annie remains one of America’s most beloved musicals. The Broadway on Tour production that stopped at Texas Performing Arts this past weekend proves that this Depression-era fable still has the power to uplift spirits, even in uncertain times.

Created by Charles Strouse (music), Martin Charnin (lyrics), and Thomas Meehan (book), Annie first captivated audiences in 1977, drawing inspiration from the Little Orphan Annie comic strip of the 1920s. It follows a young girl living in a grim New York City orphanage who, through a mix of luck and determination, is brought into the home of billionaire Oliver Warbucks. In the process, she touches the hearts of everyone from Warbucks himself to President Franklin D. Roosevelt, offering a message that’s just as relevant today: hope can change lives.

The production leans wisely into the show’s themes of resilience, civic duty, and a surprising thread of bipartisan cooperation. At the height of the Great Depression, this musical imagines a world where compassion drives policy. The relationship between Republican tycoon Daddy Warbucks (Christopher Swan) and Democratic president FDR (Mark Woodard) is portrayed with understated warmth. Despite their ideological divide, both men are aligned in their desire to improve conditions for the poor and homeless. That shared vision—of optimism in action—still resonates.

This tour features a smaller cast of orphans than I remember, but the ensemble handles the material with energy and precision. Olive Ross-Kline brings charm to the role of Molly, the youngest of the orphans, and leads several of the scenes with a natural sense of fun. The remaining girls—Aria Valentina Aldea (Pepper), Nora West (Duffy), Anna Dillon (July), Kylie Noelle Patterson (Tessie), and Eva Lizette Carrion (Kate)—bring verve to their group numbers, with “It’s the Hard Knock Life” landing as a crisp, well-executed highlight.

Stephanie Londino plays Miss Hannigan with a mix of comic exasperation and just the right amount of unfiltered menace. Her timing keeps the character grounded while still delivering on the big, comedic beats. As Rooster and Lily, Rhett Guter and Isabella De Souza Moore form a lively and effective pair. Their performance of “Easy Street” is theatrical and energetic, offering a welcome burst of mischief in the second act.

Julia Nicole Hunter brings an assured presence to Grace Farrell, Warbucks’ trusted assistant. She offers a steady counterbalance to the show’s more eccentric characters and brings warmth to her scenes with Annie.

But make no mistake—Annie herself is the heartbeat of this show. With sparkling eyes, boundless energy, and a voice that soars with conviction, Hazel Vogel as the red-haired orphan, is magnetic from her first line. Her rendition of “Tomorrow” is exactly what you hope for: earnest, powerful, and beautifully sung. It’s the kind of performance that stops time for a moment, wrapping the audience in pure, undiluted hope.

The music, of course, is the soul of Annie, and this production delivers the classics with gusto—“Maybe,” “N.Y.C.,” and “You’re Never Fully Dressed Without a Smile” all hit their mark. However, a significant hiccup in the first act made it hard to fully appreciate the vocal performances: the sound mix was muddy, with lyrics often lost beneath the orchestra. This was especially noticeable during group numbers, and one hopes the issue is resolved for future performances.

Visually, the show takes a minimalist but effective approach. The set transitions smoothly between scenes without losing narrative clarity. Costumes are a particular strength: from the orphans’ threadbare uniforms to Warbucks’ crisp suits and Annie’s signature red dress, the wardrobe helps place us firmly in 1930s New York. 

Directed by Jenn Thompson, a former Pepper from the original Broadway run, this production stays loyal to the original in tone and structure. It offers a generous dose of nostalgia while reminding audiences—young and old—that hope, kindness, and determination are as important now as ever.

By the end of the evening, the audience was on its feet, applauding not just for the cast but for the story itself—a fable that continues to remind us that optimism is a choice. Annie may be set in the past, but its message is very much for today.

A heartening, family-friendly night at the theatre, Annie delivers just what it promises: a reason to believe that “the sun’ll come out tomorrow.”

Duration: 2.5 hours with one intermission.

This touring production has left Austin.

ANNIE

Book by Thomas Meehan

Music by Charles Strouse

Lyrics by Martin Charnin

Directed by Jenn Thompson

Choreographed by Patricia Wilcox

Texas Performing Arts

2350 Robert Dredman Dr.

Austin, TX 78712