Sydney Reviews

Annie opened at the Capitol Theatre on the 3rd of April to a crowd buzzing with excitement. Grandparents, parents, and young children gathered for the occasion – each dressed in glittering glamour, all sharing the same electric anticipation. It was as if the thrill and nostalgia of the 1982 film were contagious, passed down through generations and woven into the very DNA of those who came to see it.

Annie the musical began with flair and finesse. The story opens in the Hudson Street Orphanage, where a motley crew of orphans, restless despite the lateness of the hour, lie awake. Their dreams are chased away by the cries of a child caught in a nightmare – but it is the stark reality of their dire situation that keeps them from drifting off again.

Instead, the soft clunk of pillows thrown to silence the cries is followed by the golden voice of Annie, played on Opening Night by Dakota Chanel. She sings to soothe her sorrowful comrade, spurning the taunts of abandonment from fellow orphans. Refusing to surrender her hope, Annie begins her story of irrepressible optimism.

In the title role, Chanel’s voice is astounding. She out-sings the adults – no small feat given the calibre of the talent on stage. Her voice, rich and captivating, effortlessly brings those familiar lyrics to life.

But it wasn’t Chanel alone who made the hairs on the back of my neck stand on end. The entire cast of orphans – Camille Nko’o, Cailin Scully, Matilda Teiotu, Skylah McMah, Ellie Lang, Chloe Delle-Vedove, and Zoe Reeves – brought the house down with their opening number, It’s a Hard Knock Life. The girls gave it everything they had, and it was glorious. Teiotu’s powerful expressions and movements as the tough and sassy Pepper reached every corner of the theatre.

The beauty of the opening scene extended beyond the performances themselves. The staging by Kenneth Foy and costumes by the late Kristian Fredrikson became an integral part of the storytelling. Monochromes of grey came to life through carefully crafted textures and patterns that magically unified the ensemble, while still allowing each character to shine in her own right.

This ability to paint with the grain of fabric was a recurring motif throughout the production. In the number N.Y.C., the stage bloomed with hues of purple, plum, and periwinkle. Each costume was unique and captivating, forming a mesmerising variation on a single colour theme – shades of purple brought to life in fabric, movement, and light.

Debora Krizak as Miss Hannigan brought the discord needed to temper the harmony in both voice and staging. It’s an iconic role – the bawdy debauchee who won the hearts of many when played by Carol Burnett. Taking on such a well-loved character is always a challenge, but Burnett herself would surely have approved of Krizak’s stellar performance.

Krizak moved with ease between sharp-tongued farce and unexpected vulnerability, as she navigates her life as guardian to a home full of lost girls. She fawns over radio love stories, clinging to the hope that a woman over 35 can still find love. Krizak plays the scoundrel so well that you can’t help but smile as she sings about her disdain for the very children in her care.

Her brother Rooster, played by Keanu Gonzalez, and his partner-in-crime Lily St. Regis, played by Mackenzie Dunn, are another duo who didn’t miss a step in their roles as down-and-out swindlers. They’re desperate to find their way to Easy Street – even if it means making little girls disappear.

Oliver Warbucks is the supercilious billionaire whose hard edges soften as Annie shows him how to rediscover life’s small joys. Anthony Warlow takes on the role with gravitas, commanding both the stage and those around him. Amanda Lea Lavergne plays Grace, Warbucks’s right-hand woman, and alongside the household staff – maids, butlers, and all – she helps create a world of warmth that sharply contrasts with the humdrum life Annie has known.

This production is a triumph. Mitchell Woodcock’s choreography is captivating, and the orchestra, led by David Piper, never misses a beat. The second half does wane slightly – and despite the best efforts of the cast and direction, the climactic ending doesn’t quite reach the nail-biting excitement of the film. Even without the full thrill of danger overcome, you leave feeling deliciously warmed by the spectacle that is Annie.

Ah, and let us not forget the real star of the show: Sandy. The ragamuffin mutt who befriends Annie when she’s out on the streets trying to escape her current life is played by an irresistibly fluffy, adorable canine who won the audience over with their very first dash across the stage. For the dog alone – I’d go again.