ST. GEORGE — There’s a sentiment in the acting world that you must be careful when you agree to work with animals or children — because they tend to steal the show. But St. George Musical Theater’s latest production of Annie directed by Kelly Olsen manages to incorporate an amazing cast of children, a remarkably well-trained dog, and an adorable infant — all while still giving time to the strong talents of the adults in the cast in a musical that is nostalgic, loosely historical and festive all rolled into one.
But the dog and the baby were particularly cute.
As the title suggests, the story follows the life of the loveable, optimistic Annie, who was left on the steps of an orphanage as a baby. For 11 years she has been raised at the hand of the cruel Miss Hannigan, yet somehow, she manages to hold onto the hope that her parents will return. Living true to her cheerful outlook, the sun really does come out tomorrow when, by a stroke of luck, she is selected to spend two weeks with Oliver Warbucks, the billionaire, an opportunity that leads to newfound love and relationships, and some unpleasant truths about her past.
Taking a slight departure from the well-known film version starring Carol Burnett and Tim Curry, the stage adaptation (with book by Thomas Meehan, music by Charles Strouse, and Lyrics by Martin Charnin) centers the story’s timeline near the end of 1932 and leans into the holidays as a backdrop for much of the show. The timing allows the story to incorporate even more of President Franklin D. Roosevelt and his plans for a New Deal, as well as offering a stark contrast between the cheerful holiday splendor enjoyed by people like Warbucks’, and the lack of Christmas cheer evident in the orphanage and on the streets of New York.
Annie plays at SGMT through December 21. | Photo Credit: Flitch Creative
Carrying the show on youthful shoulders, Zoey Wilhelmsen filled the title role with all the energy, vocal talent, and personality one would expect from everyone’s favorite orphan. From her opening scene singing “Maybe” and comforting fellow orphan, Molly, (played adorably and capably by Eve Muno), Wilhelmsen proved she had earned the right to those iconic red ringlets; her clear voice belting out even stronger as the show went on. “Tomorrow,” in particular, really showcased this young actress’s tone quality and passion, while her tap dancing and believable acting were the cherry on top of an already delicious sundae.
On the opposite side of the personality spectrum, but definitely equal in talent, the mean, yet also very funny, Miss Hannigan, played by Barb Christensen, provided the production with both a villain and comic relief. Miss Hannigan’s colorful, garish costumes were among the best in the show (thanks to Costume Designer Ester Bergman), all of which added to her overall charm. Christensen’s early moments in “Little Girls” were strong, but it was when she teamed up with Tyson Chanticleer as Rooster and Pixie Merkley as Lily on “Easy Street” that she really hit her stride.
Chanticleer’s Rooster proved to be a character one could easily love to hate, sweeping on stage with charisma and charm, even while hatching a dastardly plan, and then filling the space with his excellent vocal skills. It was hard not to root for him just a little bit. And Merkley as Lily held her own as his sidekick, equally matched in vocal talent, making the Hannigan, Rooster, Lily trio on each reprise of “Easy Street” a show highlight.
Speaking of sidekicks, no one filled that role quite so remarkably as Annie’s canine partner, Sandy, played by Arrow the Airedale. This 8-year-old veteran dog actor was impeccably behaved on stage, plied with only a few discreetly offered treats. “Good ol’ Sandy,” came when he was called, stood still when he should, and even howled on cue during the finale — a trick that really brought a reaction from the crowd.
As the group, the orphans exhibited an incredible level of childhood talent, whether singing, acting or dancing, or wreaking havoc on Miss Hanigan’s sanity, there wasn’t a weak link in the group. Similarly, the adult cast showed their skills both as a group and individually, particularly on “Hooverville” and as the staff of servants at Warbucks’ mansion singing and dancing to “I Think I’m Gonna Like It Here.”
Photo Credit: Flitch Creative
Solo standouts included the radio show scene featuring Bert Healy (played by Taylor Wilkes) the catchy, “You’re Never Fully Dressed”, and of course Oliver Warbucks, played by Brad Christensen. While the eventual warm, caring side of Christensen’s Warbucks was extremely believable, the stern, intimidating side could be stronger early on to create a better contrast. Additionally, it is difficult to believe some of the connection that develops between Warbucks and Annie, and Warbucks and Grace (played by Shannon Klomp). However, in those instances, the problem lies in the script itself, since many of those developments happen off stage and are only mentioned verbally in the aftermath.
The script itself brings another flaw to the show, in placing “New Deal for Christmas” as the final number rather than simply wrapping things up with “I Don’t Need Anything But You.” Regardless of how history views the success or lack of in FDR’s New Deal, it is difficult to believe that a group of orphans could be so enthused about a proposed political plan warranting the song as the grand finale.
With all the positive elements in this show, including the ability to wrangle one of St. George Musical Theater’s larger casts (with roughly 15 double cast roles), Director Olsen, Music Director Kris Barber, and Choreographer Erica Bryce should be commended. However, the decision to add to the story during the overture is something that could be left out. Although the attempt to give a little bit of backstory to Annie’s parents might please some, it led to more questions than it answered, even if it offered the perfect chance to show off an adorable infant.
Mic and sound balancing issues cropped up on occasion during the show. For example, when the microphones were loud enough for the orphans singing voices, they were too loud for the verbally shouted lines. And Miss Hannigan’s whistle-blowing was painfully piercing — possibly because of its proximity to her body mic.
But a few technical and script-related offenses are certainly not enough to keep audiences from enjoying this holiday delight overall. In fact, “Tomorrow” is a great time to enjoy all that Annie has to offer.
