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Review: ANNIE at CAP Syosset

Angelic ‘Annie’ reminds us of gratitude.

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Review: ANNIE at CAP Syosset

CAP Syosset had their opening night for this winter’s production of “Annie” on Saturday, January 3 and it was a standout version of the classic rags-to-riches musical with a strong, bonded cast and genuflection to the wholesome nature of the characters.

Annie Boland in the titular role was a delight to watch as a graceful iteration of the street-smart orphan. Her voice is beyond her years and able to fill the air all the way to the Long Island Expressway. Boland as a dancer is equally as delicate and robust as her duets with Warbucks exhibited faint and slight foot placement but definitive and loud movements with her fellow orphans.

The orphan ensemble, which included Aspen Hoffman (Molly), Mackenzie Slawitsky (Tessie), Michaela Rodriguez (Kate), Ella Zwang (July), Diana Goncalvez (Duffy), Jacqueline “JJ” Jones (Pepper), had the original Little Rascals dynamic between them as they anticipated and supported each other in the big ensemble numbers. In the orphans’ version of “You’re Never Fully Dressed Without a Smile,” the actresses were a formidable unit that functioned like the Rockettes in their delivery of choreography and song.

Slawitsky as Tessie was beyond adorable and her performance was professionally impressive as such a young actress. Diana Goncalvez as tough-talking Duffy captured her rivalry with Annie in an endearing and “aww, shucks,” tomboy way.

Maggie Robinson as Miss Hannigan was able to encapsulate the comedic villainess with her strong and enchanting voice that sounded as confident in the roaring of “Little Girls” and the sensuality of “Easy Street.” Her portrayal of a lovelorn curmudgeon of a city employee almost has your sympathy, but definitely your judgment.

Bruce Grossman as Oliver Warbucks was the most paternal and kid-friendly billionaire anyone could imagine. Underneath the surface of a hardened finance man, Grossman was able to portray the humanity of Warbucks and even expand on his orphan backstory to make his love of Annie more believable. Grossman is a deft dancer and alternated between the fatherly love of Annie in their duet to a more mature pairing with Grace.

Jessica Pecorella as Grace Farrell was a masterclass in grace and elegance as the Glinda to Hannigan’s wicked witch (we’re using the original 1939 movie, not the Ariana/Cynthia one). Pecorella’s voice as “You Won’t Be an Orphan for Long,” had a Farmington finishing school resonance.

Jermaine Carroll as Rooster and his barfly girlfriend, Lily St. Regis (Jacklyn Lisi) had great chemistry as the nefarious couple. Carroll’s get-up and mannerisms as Ralph Mudge were the best conman tactics and the 180 turn from snake oil salesman to humble farmer with a terribly drab last name was quite the treat for theatre enthusiasts who have seen multiple iterations of the show over the years.

Michael Sherwood as President Franklin D. Roosevelt had a triumphant mid-Atlantic accent and also a charming paternal approach to Annie and the other orphans. In almost a double-act, Sherwood and Grossman developed two characters who could be powerful men with almost a childlike spirit in making others happy. Sherwood was great comic relief throughout ‘Annie,’ especially in instances when he finds his fellow Americans give him a lukewarm reception.

Rob Surber as Drake, the prim, proper, and punctual, butler of Warbucks was wonderfully enthusiastic and full of unexpected comedic moments.

Andrew J. Koehler as Bert Healey was a hilarious prima donna forced to deal with taunting sound engineers as he performed his famous song. Koehler’s voice was perfect for a radio star of the 1930s where the stage rules were in flux with modern technology.

Tom McKenna as Lt. Ward and Jay Braiman as Bundles were an unexpected Irish addition to Annie, which rounded out the New York City of 1933 that housed all the dreams of Annie and the orphans.

Savannah Legg and Summer Cohen as the “lovely Boylan sisters” in their platinum hair looked like targets for Don Draper in another universe and their baby doll voices could almost make you believe Rooster had dated them at some point.

CAP Syosset’s ‘Annie’ hits on all the classic notes we expect from a monolith and establishment musical like this one, but also creates new interpretations that are desperately needed in a world where ‘Tomorrow” might feel more like a “Maybe.”

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