Performance Run: Monday 4 - Saturday 9 April 2016

Performance Reviewed: Monday 4 April (Press Night)

Annie has, generally speaking, usually offered the sort of familiar, family-friendly, go-to production that remains popular mostly by dint of it being such a ‘safe’ staple. It is warm, good-natured gooey schmaltz buoyed by Strouse and Charnin’s admittedly memorable and peppy music, but generally speaking so inoffensively middle of the road that it is scarcely a particularly exciting or invigorating production to visit as a result. And, most frustratingly, this has in most previous productions (and film adaptations) been due to the fact that the show has been played so relatively straight-laced. Mercifully, Nikolai Foster’s latest touring revival makes no such mistakes - taking the genius move of re-imagining the entire production through a decidedly Roald Dahl-esque filter which is instantly reminsicent of the recent successes of Matilda the Musical and Charlie and the Chocolate Factory in the West End (though Foster's original take on the show predates both).

It’s a move that not only feels completely natural, but in fact begs the question as to why such a heightened take on the show had not been thought of before. That’s not to say that the core narrative and characters have been re-imagined or re-designed in any significant way - this is not the abominable 2014 Jamie Foxx Hollywood vehicle, after all - this is still the same Annie that many have come to know and love, albeit given a much-needed facelift and an extremely welcome injection of character, colour and West End-worthy scope and showmanship. Everything that made the show likeable is present and accounted for, and where past productions may have flagged or lack in scope, Foster and his team have spruced it up to a standard that make it a dazzling and engaging experience that even manages to outshine many of it’s contemporaries.

"[Nikolai] Foster and his team have spruced

Annie up to a standard that make it a dazzling

and engaging experience that even manages

to outshine many of it's contemporaries."

Telling the story of its titular young orphan, Annie follows the plucky red-head as she escapes from the clutches of the tyrannical Miss Hannigan (Lesley Joseph, more on whom later), booze-swilling overseer of the orphanage where she lives, and into the temporary care of local Billionaire Tycoon Oliver Warbucks (an earnest Callum McArdle understudying in the performance reviewed, otherwise an impressive and likeable Alex Bourne). The story that follows is a charming, if fairly predictable affair, even with a couple of somewhat bizarre deviations in Act II that remain questionably so, such as the inclusion of former US President Roosevelt and the pre-empting of his political ‘New Deal’ (which, naturally, was partially thanks to Annie here).

Where some shows are inherently solid by nature of their story, characters and music, Annie can only real lay claim to one of these as a core selling point. And it is what makes this current production such a surprising achievement - the spectacular design work and vision for the production, married with a terrific company, really do elevate it to a quality far beyond what has come before bearing the same title. Nick Winston’s vigorous, vibrant choreography is tremendously slick and inspired throughout, Colin Richmond’s brilliantly heightened and sumptuously charismatic set and costume design (which again does seem to have more than a passing resemblance to Rob Howell’s work on Matilda), Ben Cracknell’s metamorphic, chameleonic lighting, and of course Foster’s direction clearly setting the dial up to 11 - this is big, lavish and quite brilliant musical theatre at a calibre one would never presume Annie could reach. Key set pieces such as ‘Hard Knock Life’, ’N.Y.C.’ and ‘You’re Never Full Dressed Without A Smile’ are at points genuinely thrilling, grandiose showstoppers, whilst ‘I Think I’m Gonna Like It Here’ is here a full-on, no-holds-barred spiritual sister to Beauty and the Beast’s iconic ‘Be Our Guest’.

"Gamely throwing herself into every spin, shake

and high kick... Lesley Joseph is a whirlwind of

character and energy at 71, proving to be the

perfect Miss Hannigan"

Of the cast, Birds of a Feather star Lesley Joseph domineers over proceedings (and understandably marketing) as the show's resident gin-soaked tyrant Miss Hannigan. Taking over full-time from Craig Revel Horwood, Joseph's Hannigan may lack the novelty and whimsy of Horwood's draggier take on the role, but in truth she fits the part like a glove, and confidently outdoes her predecessor on the acting front. Gamely throwing herself into every spin, shake and high kick of 'Easy Street' and belting out a brilliantly raspy and embittered take on 'Little Girls', Joseph is a whirlwind of character and energy at 71, proving to be the perfect Miss Hannigan and, notably, offering a decidedly more deadpan and acidic take on the role than the more overtly campy or panto energy one may first presume.

She's surrounded by talent, too. The ensemble as a whole are simply fantastic, and far too often in big budget productions as these they are overlooked or not given due credit, when in truth, particularly here with Annie, they are a huge factor in it's overall level of slickness and attainment. See the skill, passion and sheer energy the likes of Michael Lin and Alice Liveing imbue into their many roles, set pieces and dance numbers over the course of the evening to gauge some level of the calibre of talent on display. Holly Dale Spencer floats across the stage akin to a siren of old Hollywood as Warbucks' personal secretary Grace Farrell - graceful and nigh-faultless in movement, character and voice; you'd truly believe she'd been plucked straight from the era. Equally impressive are Jonny Fines and Djalenga Scott as Hannigan's nefarious, somewhat unhinged brother 'Rooster' and his glamorous moll Lily. Fines in particular captivates attention whenever he is on-stage; his Rooster slick, charming yet palpably possessing of a barely-suppressed darkness. Their pairing with Joseph in 'Easy Street' and its later reprise is truly the show firing on all cylinders.

The real stars of the show, however, are the company of young performers that could have easily have sunk the production were they not up to par with the quality and ambition on display around them. From the moment ‘Hard Knock Life’ tears through the auditorium, it is clear that these ‘little girls’ certainly don’t need saving, and they uniformly give as accomplished, disciplined and vocally exceptional performances as their admittedly excellent adult counterparts. Front-and-centre in the performance reviewed was the fantastic Elise Blake, who made for a sublime Annie in the performance reviewed (being one of three young actresses who alternate the role). It isn't surprising to see that Blake already has such reputable shows as Gypsy, Matilda the Musical and Les Miserables under her belt; so confident and strong was her leading turn here, and even greater things surely await the talented young performer. 

"From the moment 'Hard Knock Life' tears through

the auditorium, it is clear that these 'little girls'

certainly don't need saving, and they uniformly give

as accomplished, disciplined and vocally exceptional

performances as their adult counterparts."

In many ways, Annie is the epitome of why I continue to adore visiting and reviewing theatre - to be surprised and challenged, or have my expectations proven not only wrong, but blown out through the back of the auditorium. At a time where there are some admittedly excellent revivals, but just as many uninspired retreads, Annie comes along and becomes an immediate flagship poster girl for how an old favourite can, and indeed should be re-imagined. The original show is still present and accounted for, and those fondly familiar with it, flaws and all, will no doubt be just as won over, but it has also been given a new lease of life by dint of a sublime design and direction overhaul and the gift of a cast which equally elevate the material. Nikolai Foster and his team should be proud of the faithful yet revitalising work they have done in once again not only making Annie a current, exciting slice of musical theatre that, as mentioned, can stand proudly amongst its equivalents, but also for so eloquently reminding us that an old Sandy dog can very definitely learn some shiny new tricks.

If, as the show cites, ‘You’re Never Fully Dressed Without A Smile’, then put on your Sunday finest and head down to Annie - I left wearing the biggest I have in some time. 

RATING - ★★★★★

ANNIE is running at the Wolverhampton Grand Theatre from Monday 4th through to Saturday 9th April 2016.

CLICK HERE for more information on the show's run at the Grand and to book your own tickets!

Alternatively, telephone the theatre's Box Office direct on 01902 429212.

   

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Readers who submit articles must agree to our terms of use. The content is the sole responsibility of the contributor and is unmoderated. But we will react if anything that breaks the rules comes to our attention. If you wish to complain about this article, contact us here