Review: New Tampa Players Presents ANNIE at the New Tampa Performing Arts Center

It’s hard to believe that the musical ANNIE is turning 50 years old next year.  Since premiering on Broadway in 1977, it has become something more than just a classic musical.  It’s now seen as a pop culture touchstone, one of the last great mainstream musicals that works for both adults and children. 

Although it has its fair share of sunshiny moments, ANNIE is not an overly sweet concoction, especially with its dark take on the dire economic crisis of the 1930s and the rightful nose-thumbing at former President Herbert Hoover.  At one point, a police officer warns that he could send Annie’s dog, Sandy, to the pound where it will be put to sleep; at another juncture, the character Rooster alludes to brutally killing Annie with a knife. This is not the happy-go-lucky ANNIE that we like to remember; it’s a tough world out there…a hard knock life, so to speak. 

But ANNIE is also the story of an urchin orphan who uses the power of positive thinking to not just save herself from a life imprisoned in an orphanage’s dreary doldrums, but by proxy, to help heal and save an entire nation.  Annie becomes a superhero raggamuffin, a red-haired infusion of pick-me-up positivity in a land of literal Depression.  (If Annie is indeed a superhero of sorts, then does that make Sandy her very own Krypto the Superdog?)

For those of you fresh off the ship from Pluto (newly discovered in the 1930s), or those who unfortunately live in a world without musicals (a sad world indeed), ANNIE is based on the famous comic strip, “Little Orphan Annie,” which began its run in 1924. 

The Tony-winning musical (book by Thomas Meehan; Music by the great Charles Strouse; and lyrics by Martin Charnin) centers on Annie, an orphan who is bullied by Miss Hannigan at a rather depressing New York City orphanage.  Annie runs away and, in a downtrodden Hooverville, befriends a pup named Sandy before getting a lucky chance to stay with the billionaire industrialist, Oliver Warbucks.  Warbucks, a cut-throat businessman who lost his parents when he was young, finds his paternal spirit and his hidden heart of gold with Annie.  He wants to eventually adopt her, but Annie’s goal is to find her long lost parents. Disappointed, Warbucks uses his vast wealth and influence to make her wish of meeting her real mom and dad come true, appearing on the radio and even meeting with President Franklin D Roosevelt. But something stands in their way: Miss Hannigan’s criminal brother, Rooster, and Rooster’s fast-talking, blonde girlfriend, Lily St. Regis, pretend to be Annie’s parents in order to garner a $50,000 reward…and they almost get away with the scam.  But all is well in the end as order is restored, Warbucks and Annie are finally together, and America begins its great “New Deal” comeback, all thanks to the spunky optimism of a little orphan, Annie. 

ANNIE has a terrific script, but it’s most famous for its stellar musical numbers: “Maybe,” “It’s a Hard-Knock Life,” “Tomorrow,” “Little Girls,” “I Think I’m Gonna Like It Here,” and my favorite song in the show, “NYC.”  The score bursts with life, the infectiously memorable hooks getting stuck in your head no matter how hard you want to pry them out. It’s not a short show—a little over two and half hours long--but when done right, it’s never boring.  And with the New Tampa Players’ production of ANNIE, staged at the wonderful New Tampa Performing Arts Center until August 2nd, it is certainly done right. 

Two young performers play the title role on separate nights; Saoirse White portrayed Annie on the night I attended while Jordan Boyett tackles the role in certain other performances.  Ms. White is such an immensely likable presence onstage that I bought into the part 100%.  Annie’s can-do optimism can seem annoying at times, but not with Ms. White.  She’s a total natural, who sings her songs well, hits just the right notes, and carries the whole behemoth of a show on her young shoulders with ease.

Annie’s orphan pals are a motley crew, featuring some of the most talented youthful performers in the area, including Alexa Lipositz, Charlotte Crouch (as a particularly whiney Tessie), Brooklyn Stripling (as a particularly grumpy Pepper), Nora Duffy (who plays July and not her namesake, Duffy), Avery McDowell, Ava Adams, Taylor McCrea and Alana Hallums.  Their songs, including “It’s a Hard Knock Life” and “You’re Never Fully Dressed without a Smile,” were instant highlights of the show.

Special attention must be paid to 7-year-old Giada Abalos as Molly.  This is Ms. Abalos’ first community theatre show, and she’s already a pro.  I have seen ANNIE numerous times, and have even directed it, and the performers inhabiting the part of the youngest of the orphans are always cute and on-point.  But Ms. Abalos goes beyond that.  She’s always in character, always owning the stage.  She sings quite well, but it’s her demeanor, her larger-than-life personality bursting out of such a small frame, that wins the day for us.  She’s wily, cute and brilliantly bratty--like a sandspur forever stuck in Miss Hannigan’s foot.  You could tell Ms. Abalos was thrilled to be on the stage, electrically alive, and she stole the hearts of each member of the audience.

As for Miss Hannigan, Christy Adams is a wonder in the part.  She’s a floozy, drinking in front of the kids and falling for every man she encounters (even the laundry delivery shlub).  It’s a part that’s made for an actress who refuses to hold back (I saw Ms. Adams as Grace in an earlier production of ANNIE, and you would never know it was the same actress; talk about versatility). The actress gleefully embraces the quirky antagonism of Miss Hannigan, and the audience adored her putridity.  If you’re looking for the star of this ANNIE, I think that honor goes to Ms. Adams.

As Daddy Warbucks, Donal Duffy is just splendid.  The funny thing is, I saw him as Rooster in ANNIE at CWP a couple of years back, and he stole that show there.  Here, he provides the heart, as well as the depth, of a man who’s lost until he realizes what was missing from his life…a daughter.  He sings marvelously well, and with his bald dome, he inhabits the role, becoming the emotional grounding that the show needs.  There’s a moment in Act 2 when he simply sits on the stairs next to Annie, singing “Something Was Missing,” and it’s so natural, such an honest moment, the character finally letting go of his rich-guy persona and embracing the parent that he’s meant to be. 

Ansley Van Epps is a breath of fresh air as Grace, and her songs are so well done that you seem to float as she sings.  I wish I got to see more of her connection with Warbucks, where their love for each other is quietly telegraphed long before they know it themselves, but she is a charming force to be reckoned with. 

As the villains, JD Stauffer (as Rooster) and Bri Filippelli (as Lily St. Regis) jolt every scene to new life.  They love and embrace their villainy—there is no pretense that they are lip-licking criminals who get off on their own debauchery—and are a joy to watch.  And in the final scene, Ms. Filippelli even steals the ornaments from the Warbucks Christmas tree.  It’s little moments like this one that I adore.

Rick Taylor comes across quite presidential as FDR, a stoic presence with a spark of humor and a charismatic gleam in his eye; he also resembles a synthesis of both FDR and Truman. Michael Neary is a hoot as the proper, pompous butler, Drake. And the talented Blaine Moss is quite a find as the slick radio personality, Bert Healy.

It’s a large cast, appropriately so because ANNIE isn’t Waiting for Godot.  The rest of the cast members, named players as well as ensemble, get the job done and include Jaden Figueroa, Michael Bonassar, Kariann Stamatoplos, Naomi Berger, Simon DuPriest, KJ Horak, Linda Johnston, Chelsea Keith, Megan Jolesar, Megan Moody, Alaina Qureshi, Alex Alfonso, Alejandro Olivera and dance captain Elizabeth Ferriera.  Two children—Maron Wolfe Bonassar and Rayla Wolfe Bonassar—are quite young but standout in every scene they’re in. 

And yes, there’s a real dog onstage, Legacy, playing the part of Sandy.  (Not having a real dog in ANNIE is akin to not having music in The Sound of Music.)  Legacy is a dog’s dog, a cooler-than-cool Lab that wags its tail the whole time he’s around Annie.  In a word: Awww.

But wait, there’s more…one more.  I have saved the best for last.  In the small role of Star To Be (in the song “NYC”), as well as portraying various other roles, Cassia Dixon is a revelation.  When she sang, the hairs on the back of my neck stood up and I realized that I was in the presence of greatness.  The show was already going along swimmingly with so much talent onstage, but she immediately upped it to the next level.  Wow, what a voice!  What presence!  In Ms. Dixon’s hands, the Star To Be is already a star.

The orchestra, under the taut direction of G. Frank Meekins, is outstanding, and it’s always glorious having a live band doing a show of this magnitude. Musicians include Liza Wyant Wobensmith, Andrew Becker, Diana Belcher, Maribeth Radtke, Sharlotte Lews, Tim Dow, Joseph Callaway, Matthew Hill, Bill Genovese, Brian Mason, Matthew Scott, Rick Barclay, Todd DuPriest and Mark Hansen. 

When you see a show where the incomparable James Cass designed the set, then you know it’s going to be a feast for the eyes.  And Mr. Cass’s set here doesn’t disappoint, especially the use of large cartoon panels from the original “Little Orphan Annie” comic strip. Ingenious! With the twinkling New York Cityscape in the background,  and aided by Sebastian Paine’s lighting, this is one lovely looking production.  

There are some nitpicks.  For instance, in the first scene, Annie tries to hide in a laundry basket.  But she’s all but sticking out of it, not even trying to disguise herself well, and we just don’t buy that she goes unnoticed by Miss Hannigan and Mr. Bundles. Also, in Act 2 inside the Roosevelt cabinet office, the start of the aides’ song,  “Cabinet End,” sputtered vocally at first and turned out to be wonky at best.  Also, with the cast onstage, there were way too many straight lines for my directorial tastes, and some of the adult dances could be tighter, two of the songs culminating in a kick line when one would be more than enough. 

But overall, everything comes together and the show works marvels.   

Director Karissa Barber and choreographer Jennifer Soto have taken the mammoth-sized cast and have created theatre magic. It’s a brisk-moving two and half hours that knows when to move at a breakneck pace and knows when to slow down for some human connection.  Director, choreographer, cast and crew should be extremely proud. 

ANNIE is about dreaming of a better life, looking forward to a stronger and more heartening tomorrow.  And in today’s world—a world that seems just as tough as the  world of the 1930s but in very different ways—it’s a message of hope that we so desperately need.  I’ve seen ANNIE more times than I can count, but when it’s done well, then I’m so glad to visit this world again.  It’s an old fashioned show that we need in this not-so-old-fashioned time.  It provides vast entertainment and a wonderful night of theatre.  I can confidently claim that this production easily stands as one of the strongest that NTP has mounted. 

NTP’s ANNIE runs thru August 2nd at the New Tampa Performing Arts Center.  Photo Credit: Picture This Photography of Palma Ceia.

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