Book by Thomas Meehan
Directed by Nikolai Foster
Review by Dominic Corr
Annie is one of the most underappreciated musicals out there. The story of the little orphan Annie, with her red hair, freckles, and infectious smile, who pursues the parents who left her in the gin-soaked hands of the cruel Miss Hannigan, is something we all seem to be born with. And while it may not initially strike with the excitement that some productions may conjure, when you sit there, surrounded by gleeful fans and first-time wonder, and hear Tomorrow thrown out into the world by the next generation of performers – it’s something special. And it reminds you why this is a cornerstone of musical theatre; Annie is timeless, even in a revived form. It is the joy and energy we all need right now.
The latest UK and Ireland tour of Annie proves precisely why this Great Depression-era comic strip adaptation remains an indestructible, feel-good staple. Set against the grim backdrop of 1930s New York (but Colin Richmond’s whimsical and stylish set design turns it from nightmare to dreamscape), the enduring tale of a plucky orphan is delivered here with a polished, infectious exuberance that is guaranteed to leave audiences beaming. This visual storytelling is beautifully supported by Richmond’s effortless transition of the stage from the bleak, fragmented squalor of the orphanage to the dazzling, golden luxury of Oliver Warbucks’ Fifth Avenue mansion.
Where Nikolai Foster’s brisk, energetic direction truly shines is in the large-scale ensemble numbers and the interactions between Annie (this evening played by June Young) and Warbucks. Nick Winston’s choreography, executed by the remarkable children’s chorus, injects a staggering amount of vigour into iconic anthems like “It’s the Hard Knock Life,” which deservedly steals the show early on. The adult ensemble is equally impressive, particularly in lesser-known numbers such as the delightfully costumed “We’d Like to Thank You, Herbert Hoover,” which bursts with vitality and superb choreography. Still, it’s the more unassuming ones, like N.Y.C. and Tomorrow (Reprise), with Roosevelt and the cabinet, where the cast really gets going.
But once they start, there ain’t no stopping them. And tonight, with the audience treated to the ‘Empire Team’ of young performers – they are in for a knock-out night of rising talent and japery. Leading the charge, June Young (alternating with Victoria Alsina, Bibi Blossom Stockley–Webster and Sophia Saravanan) is an Annie with a voice as big as their heart, and as comforting as their smile. But there’s bite, and vim and vigour. Both needed to hold the stage, even when filled with noise, Ben Cracknell’s colourful and even frightening lighting, and the incredible musical direction of Nick Tudor and the musicians – a testament to the value of a live orchestra within a theatrical setting.
A few cultural references, like nods to Babe Ruth, understandably sail straight over the heads of modern audiences. Furthermore, some routines can feel slightly mechanical, but in a machine as well-oiled as this, it’s to be expected. Additionally, the scale of The Edinburgh Playhouse does muffle the sound on occasion, something likely to be worked out after the opening night. But in a production that so delightfully revives a timeless charm as this, these are minor quibbles compared to the solid entertainment on offer.
The casting is universally strong, with Claire Sweeney stepping into the role of the gin-soaked, delightfully cantankerous Miss Hannigan. Combining razor-sharp comic timing with powerhouse vocals, she dominates the stage, particularly in the runaway hit number “Easy Street” (sans shoes on opening night after a high-heel failure, handled like a pro), flanked by the impeccably charismatic Christian Cooper as Rooster and Amber Kennedy as Lily. Cooper in particular brings the necessary edge of threat to the show, in an otherwise very PG production for the entire family. But it’s the only billionaire the world needs who steals hearts; that, and Dizzy the dog playing Sandy, as Alex Bourne brings a grounded warmth and authority to Olive/Daddy Warbucks, allowing his bond with the young Annie to develop with genuine, convincing tenderness. Special mention must also go to Tanisha-Mae Brown, whose flawless vocals, dancing, and radiant warmth elevate the often-vanilla role of Secretary Grace Farrell far beyond a simple supporting part.
Overflowing with iconic songs, a scene-stealing cast, and an undeniable message of hope and resilience, this slick revival confirms that you never really have to wait for tomorrow to find a little sunshine; you need to get to The Playhouse. This is the definitive Annie, and proof that it remains a perfectly constructed piece of entertaining theatre. Bursting with vocal powerhouse performances and radiant warmth, this vibrant, scene-stealing production delivers a masterclass in feel-good joy right here, right now and guarantees you’ll leave beaming.
Guaranteed to Leave Audiences Beaming
Annie runs at The Edinburgh Playhouse until 20th September
Running time: Two hours and twenty minutes with one interval
Review by Dominic Corr (contact@corrblimey.uk)
Editor of Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected outlets such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
