#1
Posted: 5/16/06 at 9:39pm
The New “Annie” – A “Spiffed-Up” Delight for Audiences of All Ages
By Zachary Marsden
Musical Theatre Reviewer
The National Tour of the well-known Broadway musical “Annie” has arrived in the form of a new and excellent remake. Martin Charnin, (director and original script lyricist) has indeed outdone himself, in both the casting and context of the performance. I may even venture out on a limb here and say that this production is close to perfect.
Twelve year old, Marissa O'Donnell, stars as the spunky little orphan-with-an-attitude, "Annie". O’Donnell is a definite gem. Prior to coming to the show I recollected all the horrendous renditions of the sugar-flake song "Tomorrow" that I have listened to over the years. The thought, itself, tends to illicit an unfortunate fingers-down-throat-retching response, at the best of times. I am sure many will concur. I honestly did not expect that to ever change. Well not, until I heard O’Donnell sing the song at the Landmark theatre, tonight. Without sacrificing volume and quality, O’Donnell has succeeded in trading- in the screeching sequences of years past, for heartfelt emotion and melodious meaning. She, additionally, chooses to include wide-eyed expressiveness over the vigorous gesticulations that many of us remember. O’Donnells voice is both powerful and absolutely beautifully. Measured by the thunderous applause it is evident that she has succeeded in winning over her audience completely
O’Donnell is consistent throughout the performance. Other than swallowing a few of her words during Warbucks’ presentation of the new locket, O’Donnell maintains her level of excellence. I would, without hesitation, tag this twelve year old as the best “Annie” cast so far.
Close behind in degree of talent, is Amanda Balon, the baby of the troupe. A definite catch, for Charnin, this nine year old, petite powerhouse of a performer plays her role of "Molly" with enthusiastic gusto. The energetic little actress is on stage for less than a mere 30 minutes in totality. However, her ability to work the stage comfortably and believably, utilizing vocal, acrobatic and acting skills as well as her undisputed cuteness, gives her character an unwavering presence throughout the entire show. If anything negative is to be said it is that, Charnin does not use this tiny star nearly enough. Balons imitation of the hung-over Hannigan is hysterical. The short time she is given to act out her hilarious antics as well as her position, directly behind Hannigan, place her out of viewable range for the entire audience seated to the right of the stage. Balon is an adorable crowd pleaser. It will not be a surprise to find her following in O'Donnell footsteps in the title role, someday, soon.
The remainder of the orphans maintain the standard, pouring their hearts out in every song they sing. Casey Whyland works well as “Tessie”. Taylor Bright, as "July" definitely deserves recognition for her vocal skills. Brights solo in “Your Never Fully Dressed Without a Smile” is pitch perfect and huge, filling every inch of the auditorium. Again, her positioning, at the back of the stage is unfortunate.
Alene Robertson is another, crowd favorite as the deplorable, comical, mean, orphan tormented, Mrs. Hannigan. Robertson is a brilliant and professional actress with an unmatched made-for-Broadway voice. She is quite entertaining, especially when joined by her conniving brother Rooster and his floozy, Lily St. Regis played to perfection by Scott Willis and Julie Cardia. The energetic villainous trio are crookedly hilarious and put on a marvelous Broadway-quality performance.
Elizabeth Broadhurst, plays Grace Farrell, the efficient, straight, and may I add, strikingly sexy, secretary to Warbucks. Broadhurst is perfect in this role. She is absolutely beautiful, her loveliness enhanced more so, by the melodious quality of her voice and her flawless diction. Classy and mesmerizing, Broadhurst never missed a beat. As Grace, she is secretly in love with her boss Oliver Warbucks, the lucky, lucky man. It was great to see John Schuck, the actor from TV’s “MacMillan and Wife” reprise his role as the gruff, jowled, money- obsessed tycoon.
Schuck does a great job opening the scene of NYC with a solo. Broadhurst joins in with beautiful harmony right before the scene bursts into a colorful, bustling arena of ritzy, jazzy activity. The addition of this peppy interlude is fun to watch. Most of the cast, including the orphans, are on stage for this number, playing a different role. The jovial orchestration had me humming the NYC tune all the way home. Worthy of mention is Monica Patton in her role as “Star-to-Be”. In a powerful NYC solo, Patton sustains a note for an impressive length of time, leaving me gasping for breath. Vocally as strong is Katherine Pecevich, in her multiple roles as Mrs. Pugh, Perkins, the WEAF Producer and Hoovervillite. Pecevich’s acting is brilliant, more so considering her extensive amount of costume and character changes. Another crowd pleaser was the vibrant “Never fully dressed without a smile” scene. Here the orphans put on a dynamic presentation, in an energetic extremely well done imitation of the Boylan sisters. The loud applause begins during Molly’s (Balons) cheek jostling, tap dance and continues all the way through the orphans “can-can-like” leg kicks.
The ensemble, which consists mainly of maids, butlers, street people and cabinet members, is strong. Dreading the historical monotony of Act two, I was pleasantly surprised by Charnins reconstruction. The huge contrast between scenes as well as some brilliantly choreographed dancing and energetic singing by ensemble and leads, keeps the entire second half of the play moving. The illustrious set, designed by Ming Cho Lee, as well as the props used in this final half are brilliantly constructed. These include the cascading Warbucks mansion staircase, a 20-foot decorated Christmas tree, life-like snow visualized through clear windowpanes and a plethora of toys decorated brightly as Christmas gifts.
Ironically it has taken me over 20 years watching this musical to realize that the presumption that “Annie” is solely a kids play is inaccurate. It is a show catered towards adults just as much as it is to kids. The grandparents and parents who had come only to bring their children, found themselves enjoying the play and rolling in laughter during most of the scenes. It was the adults, who were able to catch onto the various innuendos such as references regarding Harpo Marx, Elliot Ness, J.P. Morgan. Kids were entertained by the orphan scenes as well as by the lovable disheveled Lola, who plays the part of Sandy the dog. Trained to perfection this canine actor followed each subtle command. Lola made for a believable, Sandy, as demonstrated by the outburst of tears from little ones in the audience feeling sorry for the dog wandering out, alone on the stage, searching for Annie.
In honesty I did not expect to enjoy this show as much as I did. I loved the fresh snippets, such as the banter between Warbucks and Annie, the new antics of the orphans and the organized chaos at the WEAF radio station which terminated with Wacky, the naughty puppet, sneaking in a stroke of a beautiful blonde Boylan sisters derriere. I laughed at Harry Turpin, dramatizing Harold Ickes newfound inspiration. I encourage all adults to grab their parents and their kids and try and catch a show before the tour ends. I urge all Annie cynics or those deluded by prior battered reenactments of the play to see the fresh new and improved “Annie”. I left with a completely new outlook on this 30-year-old story and mesmerized by an exceptionally brilliant and talented cast. The sun has, without question, come out on this production of Annie.
Article by Zachary Marsden
Musical Theater Reviewer
By Zachary Marsden
Musical Theatre Reviewer
The National Tour of the well-known Broadway musical “Annie” has arrived in the form of a new and excellent remake. Martin Charnin, (director and original script lyricist) has indeed outdone himself, in both the casting and context of the performance. I may even venture out on a limb here and say that this production is close to perfect.
Twelve year old, Marissa O'Donnell, stars as the spunky little orphan-with-an-attitude, "Annie". O’Donnell is a definite gem. Prior to coming to the show I recollected all the horrendous renditions of the sugar-flake song "Tomorrow" that I have listened to over the years. The thought, itself, tends to illicit an unfortunate fingers-down-throat-retching response, at the best of times. I am sure many will concur. I honestly did not expect that to ever change. Well not, until I heard O’Donnell sing the song at the Landmark theatre, tonight. Without sacrificing volume and quality, O’Donnell has succeeded in trading- in the screeching sequences of years past, for heartfelt emotion and melodious meaning. She, additionally, chooses to include wide-eyed expressiveness over the vigorous gesticulations that many of us remember. O’Donnells voice is both powerful and absolutely beautifully. Measured by the thunderous applause it is evident that she has succeeded in winning over her audience completely
O’Donnell is consistent throughout the performance. Other than swallowing a few of her words during Warbucks’ presentation of the new locket, O’Donnell maintains her level of excellence. I would, without hesitation, tag this twelve year old as the best “Annie” cast so far.
Close behind in degree of talent, is Amanda Balon, the baby of the troupe. A definite catch, for Charnin, this nine year old, petite powerhouse of a performer plays her role of "Molly" with enthusiastic gusto. The energetic little actress is on stage for less than a mere 30 minutes in totality. However, her ability to work the stage comfortably and believably, utilizing vocal, acrobatic and acting skills as well as her undisputed cuteness, gives her character an unwavering presence throughout the entire show. If anything negative is to be said it is that, Charnin does not use this tiny star nearly enough. Balons imitation of the hung-over Hannigan is hysterical. The short time she is given to act out her hilarious antics as well as her position, directly behind Hannigan, place her out of viewable range for the entire audience seated to the right of the stage. Balon is an adorable crowd pleaser. It will not be a surprise to find her following in O'Donnell footsteps in the title role, someday, soon.
The remainder of the orphans maintain the standard, pouring their hearts out in every song they sing. Casey Whyland works well as “Tessie”. Taylor Bright, as "July" definitely deserves recognition for her vocal skills. Brights solo in “Your Never Fully Dressed Without a Smile” is pitch perfect and huge, filling every inch of the auditorium. Again, her positioning, at the back of the stage is unfortunate.
Alene Robertson is another, crowd favorite as the deplorable, comical, mean, orphan tormented, Mrs. Hannigan. Robertson is a brilliant and professional actress with an unmatched made-for-Broadway voice. She is quite entertaining, especially when joined by her conniving brother Rooster and his floozy, Lily St. Regis played to perfection by Scott Willis and Julie Cardia. The energetic villainous trio are crookedly hilarious and put on a marvelous Broadway-quality performance.
Elizabeth Broadhurst, plays Grace Farrell, the efficient, straight, and may I add, strikingly sexy, secretary to Warbucks. Broadhurst is perfect in this role. She is absolutely beautiful, her loveliness enhanced more so, by the melodious quality of her voice and her flawless diction. Classy and mesmerizing, Broadhurst never missed a beat. As Grace, she is secretly in love with her boss Oliver Warbucks, the lucky, lucky man. It was great to see John Schuck, the actor from TV’s “MacMillan and Wife” reprise his role as the gruff, jowled, money- obsessed tycoon.
Schuck does a great job opening the scene of NYC with a solo. Broadhurst joins in with beautiful harmony right before the scene bursts into a colorful, bustling arena of ritzy, jazzy activity. The addition of this peppy interlude is fun to watch. Most of the cast, including the orphans, are on stage for this number, playing a different role. The jovial orchestration had me humming the NYC tune all the way home. Worthy of mention is Monica Patton in her role as “Star-to-Be”. In a powerful NYC solo, Patton sustains a note for an impressive length of time, leaving me gasping for breath. Vocally as strong is Katherine Pecevich, in her multiple roles as Mrs. Pugh, Perkins, the WEAF Producer and Hoovervillite. Pecevich’s acting is brilliant, more so considering her extensive amount of costume and character changes. Another crowd pleaser was the vibrant “Never fully dressed without a smile” scene. Here the orphans put on a dynamic presentation, in an energetic extremely well done imitation of the Boylan sisters. The loud applause begins during Molly’s (Balons) cheek jostling, tap dance and continues all the way through the orphans “can-can-like” leg kicks.
The ensemble, which consists mainly of maids, butlers, street people and cabinet members, is strong. Dreading the historical monotony of Act two, I was pleasantly surprised by Charnins reconstruction. The huge contrast between scenes as well as some brilliantly choreographed dancing and energetic singing by ensemble and leads, keeps the entire second half of the play moving. The illustrious set, designed by Ming Cho Lee, as well as the props used in this final half are brilliantly constructed. These include the cascading Warbucks mansion staircase, a 20-foot decorated Christmas tree, life-like snow visualized through clear windowpanes and a plethora of toys decorated brightly as Christmas gifts.
Ironically it has taken me over 20 years watching this musical to realize that the presumption that “Annie” is solely a kids play is inaccurate. It is a show catered towards adults just as much as it is to kids. The grandparents and parents who had come only to bring their children, found themselves enjoying the play and rolling in laughter during most of the scenes. It was the adults, who were able to catch onto the various innuendos such as references regarding Harpo Marx, Elliot Ness, J.P. Morgan. Kids were entertained by the orphan scenes as well as by the lovable disheveled Lola, who plays the part of Sandy the dog. Trained to perfection this canine actor followed each subtle command. Lola made for a believable, Sandy, as demonstrated by the outburst of tears from little ones in the audience feeling sorry for the dog wandering out, alone on the stage, searching for Annie.
In honesty I did not expect to enjoy this show as much as I did. I loved the fresh snippets, such as the banter between Warbucks and Annie, the new antics of the orphans and the organized chaos at the WEAF radio station which terminated with Wacky, the naughty puppet, sneaking in a stroke of a beautiful blonde Boylan sisters derriere. I laughed at Harry Turpin, dramatizing Harold Ickes newfound inspiration. I encourage all adults to grab their parents and their kids and try and catch a show before the tour ends. I urge all Annie cynics or those deluded by prior battered reenactments of the play to see the fresh new and improved “Annie”. I left with a completely new outlook on this 30-year-old story and mesmerized by an exceptionally brilliant and talented cast. The sun has, without question, come out on this production of Annie.
Article by Zachary Marsden
Musical Theater Reviewer
