Armed with half of a locket and a whole lot of hope, 11-year-old orphaned Annie is determined to escape her miserable New York City orphanage and find the parents who left her behind. Along the way, Annie crosses paths with a lovable stray dog, a billionaire, and a city full of surprise as her sunny outlook and determination help lift the spirits of those around her. A perennial favorite for its optimism, energy, and heart, Annie — book by Thomas Meehan, music by Charles Strouse, and lyrics by Martin Charnin on tour this week at the National Theatre — is a joyful production reminding us that sometimes, the family we find can be even more powerful than the one we lose.
Taking on the iconic red-head was Hazel Vogel as Annie. With a clear, sharp voice and empathy beyond her years, Vogel settled in nicely to the perpetually hopeful and energetic pulse at the core of the character, without becoming sugary or overplayed. She rightfully owned center stage in “Tomorrow” with the steady command of an actor three times her age and showed considerable nuance in the great hall of the Warbucks mansion during “I Don’t Need Anything But You.” But her rendition of “Maybe” — where the quiet wish of a song allowed her to pull back from the forward nasal style we’ve come to synonymize with Little Orphan Annie — was really my favorite and has been stuck in my head ever since.
Determined to keep Annie from her happy ending, and actively self-medicating her own self-pity with vodka and soapy radio programs, was the deliciously bitter Miss Hannigan played by Stefanie Londino. Hands down my favorite performance of the production, Londino’s Miss Hannigan was perfection that dripped with comedically jaded (self-) loathing, even into her whistle sputtering out with spiteful resignation to her fate. “Little Girls,” in particular, was masterful in its portrayal of twisted hopes and cracked hysteria in response to what’s become of her life.
That is until good-for-nothing, con artist of a brother “Rooster” Hannigan, played by Rhett Guter, and his new dame, Lily St. Regis, played by Isabella De Souza Moore, stop by. Guter as “Rooster” dialed in a perfectly twitchy and volatile demeanor that left you both intrigued and unsettled, while De Souza Moore’s Lily refreshingly played the airhead without the dumb — flipping in and out of her “maternal” guise with chilling efficacy. All three characters added up to a manipulative trio that meant nothing but trouble for them and everything for the audience, making “Easy Street” and its reprise highlights of the evening.
Trapped but defiant under the awful control of Miss Hannigan were six other orphans — Molly played by Olive Ross-Kline, Pepper played by Aria Valentina Aldea, Duffy played by Nora West, July played by Anna Dillon, Tessie played by Kylie Noelle Patterson, and Kate played by Eva Lizette Carreon. With enough energy to have powered every lightbulb in the city, this merry bunch gave it their all to charming effect. From “It’s the Hard Knock Life” to “You’re Never Fully Dressed Without a Smile,” these young actresses were laser-focused on the task at hand and delivered with flair.
The elegant hand of fate whisking Annie away from her Hard Knock life was Mr. Oliver Warbucks, played by Christopher Swan, and secretary Grace Farrell, played by Julia Nicole Hunter. An elegant pair representing the finer things in life, these two were drawn to Annie (and a bit to each other), particularly in “N.Y.C.” as they broke out of business-as-usual to show Annie all the wonders that the city has to offer. While Swan’s Warbucks was warm, secretly unsure, but eventually fatherly (with a Louis Armstrong meets Frank Sinatra tone on full display in “Something I Was Missing”), it was Hunter’s Ms. Farrell who really captured my attention. Her bright, powerful soprano (which often reminded me of Laura Benanti but with even higher wattage ping) — particularly in “I Think I’m Gonna Like It Here” — and posed, capable presence made her someone I consistently found myself watching even when she was not the focus of the scene.
Speaking of the truly stellar scene work, the ensemble — Anthony DaSilva, Savannah Fisher, Alloria Frayser, Matt Gibson, Caroline Glazier, Danny Lindgren, Ryan Mulvaney, Joel Newsome, Melinda Parrett, and Drew Tanabe — were just delightful to watch in every one of the many characters they embodied. As though feeding off of each other’s energy and bringing out the play in each moment, the entirety of this cast had a palpable chemistry — the kind that brings out the best work in each other. It has been a long time since I’ve seen a touring production where the depth of cast connection and character embodiment goes so deep that it was steeped in every moment of every actor on stage. Add in the paw-satively perfect performance of labradoodle Kevin as mutt-turned-pet Sandy and the evening was a delight.
An energetic spectacle was made possible by the talented creative team behind this touring production. Direction by Jenn Thompson made sure that every moment was topped with a flourish or met with a poignant pause. Scenic design by Wilson Chin was quirky and playful, as highlighted by lighting design by Philip S. Rosenberg, allowing the story to span from rundown city streets to opulent mansion halls with whimsy. Choreography by Patricia Wilcox deftly threaded the rhythm of the era with the underlying social upheaval of the Great Depression, and costume design by Alejo Vietti set off said movements with a whirl. Admittedly there were some mic issues throughout the production (it was almost too hard to hear Miss Hannigan over the orchestra in “Little Girls” while Annie’s mic for every scene was considerably louder than everyone else’s, for example), but the sound design by Ken Travis for the rest of the production was lushly atmospheric. Add in hair and makeup design by Ashley Rae Callahan and dog training by Charlotte Woertler and it all culminated in a world of energy, struggle, and hope.
Playing for one week only, the U.S. tour of Annie at the National Theatre is the dose of optimism that DC desperately needs as the show celebrates the family you find along the way, the home you make with those around you, and the power of hope, even in the face of seemingly insurmountable odds. With the promise that the sun will come out tomorrow, this production helps you forget your troubles for a few moments because, after all, tomorrow is only a day away.
Running Time: Two hours and 30 minutes, including one 20-minute intermission.
The national tour of Annie plays through April 20, 2025, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets (starting at $49) are available online, at the box office, or by calling (202) 628-6161.
The cast and creative credits for the touring production are here and here.
Annie is a theatrical production recommended for ages 4 and up. Children under the age of 4 will not be admitted.
Enter the Digital Lottery for a chance to purchase $29 tickets to Broadway at The National shows. Learn more here.
COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here.
