Review: ANNIE at the National Theatre in Washington, DC

It's an age-old showbiz adage—never work with children or animals. But here that advice is thrown out as the luminaries of the show are a plucky pixie adorned with bright red hair accompanied by a lovable shaggy labradoodle. Hey, in a season of uncertainty, a little schmaltz is appreciated.

Yes, “Annie’ is back at The National Theatre, but it seems to have never gone away. From the moment it opened at the Alvin Ailey Theatre in 1977 it was a feel good phenomenon. The public was taken up with the story and, in Disney-like “Wicked” fashion, has a built-in audience of preteen females. The musical, tightly written by Thomas Meehan with solid, even inspired music and lyrics by Charles Strouse and Martin Charnin, respectively, featured Andrea McArdle and Dorothy Loudon and won seven Tony Awards, including Best Musical. But the public could not get enough of this raghead to baldheaded riches story-- “Annie” has been revived three times on Broadway and the West End, and launched many international versions and tours, along with the memorable 1982 movie. Yes, official phenom creds are confirmed.

This production, which finished stops in Chicago and Baltimore, is sparse and economical, and under Director Jenn Thompson, focuses on the important elements as reflected in the original production. Fun fact—she was also in the original Broadway production, which may explain her traditional presenting of the production. “Annie” is actually a world of extremes—a collision of abject poverty and unimagined opulence and comfort—something hard to visualize unless you are an 11-year-old redheaded orphan or checking Tuesday’s stock market…the orphanage has a bare, scratchy feel, the depression era Hooverville is nicely down and out, and the mansion of Oliver Warbucks pops with rich colors and gold trim. A nod to Wilson Chin for scenic design and setup for a tighter stage.

The plight of our Annie is familiar. Dropped off at the orphanage doorstep, she is the beacon of hope for the other young girls, as they get by day by day, dealing with the very un-nurturing Miss Hannigan (a resigned to her life yet nasty Stefanie Londino). Annie hopes against hope all these years that her parents will return. She finally runs away, to the cheer of the other orphan children-- only to be returned. Curses! Foiled again. Is there no hope?

The descending angel of redemption comes in the form of Grace. Grace Farrell, the secretary to business magnate Oliver Warbucks, drops by to take a single child for 2 weeks for Christmas and Annie, charmingly herself, is chosen!  And it’s the hokiest part of the plot, but as they say, it’s in the script…

Intertwined with Annie and Warbuck’s awkward, then endearing relationship is the subplot of Miss Hannigan and her neer-de-well brother Rooster fresh from jail (an energetic Rhett Guter)  and his side-chick (an in your face Isabela De Souza Moore).Their plot to cash in on the reward for the identity of Annie’s parents has fun twists and turns and comeuppance.

Local talent Hazel Vogel, a student at Baltimore’s Bryn Mawr School is Annie, and gives us a natural charm and a powerful singing voice. Her rendition of “Maybe” was touching and of course the signature song “Tomorrow” hit all the heart places.

Handling a touring role at a young age is no small task and he shows a preiescent stage presence and nice timing. Watching her in key moments--hoping and aching for her parents, looking on the bright side all the time, came across as natural. She will age out of this role, but I see continued success.

Christopher Swan’s Warbucks was a great counterpart to the caring and heartfelt Annie, and his transformation from power broker to a man who can use his power for good was seamlessly presented, as well as his welcome baritone. Julia Nicole Hunter interacted well with the children as Grace, though she brought an unusual operatic vocal tone to the show.  Rhett Guter as conspiring Rooster came on a little too strong and slick initially—he was dressed to the nines after being in the slammer? But redeemed himself later in the scene “Easy Money.”

Londino’s Miss Hannigan brought a more human touch to her role. Less of a caricature than usual, her timed pauses and stares brought fear to the children. And I started to care for her as an antagonist and made me almost root for her.  

And a shout out to the orphans. Cast in a balanced “demographic” way, nevertheless they were outstanding in coordination, movement and facial intent. They are Aria Valentina Aldea, Eva Lizette Carreon, Anna Dillon, Kylie Noelle Patterson, Olive Ross-Kline and Nora West.

Music Director Andrew David Sotomayor, presenting the music beautifully and managing to also make it sound era-appropriate instead of like an overly bombastic orchestra. Especially challenging was the show stopping music of “NYC.”

Touring companies can be given to a certain “mail it in” quality, given the travel and repeat roles that performers find themselves in. But this new production is worth seeing.  Its Director gives us a nice new look, intently focusing on the emotional connection between the actors. In addition, it allows the experienced cast and talented ensemble to let the youngsters shine.

And then there’s Sandy. The lovable dog, who has the least stage time, makes the most of it with hallmark moments.  The simple act of putting his head in a despondent Annie’s lap almost stopped the show.

Essentially, “Annie” is about a girl in need and a man who needs to give love, all wrapped around a musical. And that is why it works. It will be at DC’s National Theatre for the next 5 Tomorrows!

Running time: 2 hours, 35 minutes with an intermission.

“Annie” National Tour is at the DC National Theatre, 1321 Pennsylvania Avenue NW, Washington, DC 2000 from April 11 to April 20. For more information or for upcoming events, call (202) 628-6161 or Online.

 Caption: Christopher Swan as Oliver Warbucks and Hazel Vogel as Annie