Annie mostly delivers
There’s a certain level of polish you expect from a big-budget production at the Capitol Theatre, and Annie mostly delivers. Grand sets, tight choreography, a polished band — the usual suspects were all present and accounted for. However, while the production met all the right technical standards, it never quite found the heart or inspiration needed to elevate it beyond the expected.
The energy from the adult cast was consistently sharp, and for the most part the orphans matched it — at least early on. Matilda Casey as Annie carried the show’s considerable weight well for someone so young, but as the night wore on, the chemistry between Annie and the rest of the cast — particularly Warbucks — began to wane, hinting at fatigue. Still, Casey delivered on the vocals and charm where it counted.
Standout performances came from some unexpected places. Ellie Lang as Molly, the youngest orphan, was a spark of energy every time she appeared. Clean, crisp choreography, no shortcuts, no marking.
Deborah Krizak’s Miss Hannigan was a consistent highlight. “Easy Street,” performed alongside Keanu Gonzalez (Rooster) and Mackenzie Dunn (Lily), was the undeniable peak of Act 1 — tight, Fosse-inspired choreography and real character work. Amanda Lea Lavergne (as Grace Farrell) and Tom New (as Drake) also turned in strong performances. Less successful was Greg Page — yes, the Yellow Wiggle — wheeled out as President Roosevelt. Distracting at best, his cameo added little, and the Wiggles fingers during the curtain call didn’t do him any favours.
The big numbers had their ups and downs. “Hard Knock Life” was fine, carried by Lang’s unflagging energy. “NYC” dazzled with colourful costumes and clever projections, while “We’d Like to Thank You, Herbert Hoover” delivered playful characterisation while effectively anchoring the story in its historical setting. “Tomorrow,” though performed well, lacked the emotional punch it’s supposed to deliver.
Visually, the show was stunning. Kenneth Foy’s scenery and Craig Wilkinson’s projections elevated every scene, transitioning smoothly from the drab orphanage to the opulent Warbucks mansion, to a Christmas wonderland complete with staircase and towering tree. The set never felt recycled, despite smart reuse of pieces — a refreshing level of attention to detail.
The choreography (by Bitchell Woodcock) deserves praise, particularly in “I Think I’m Gonna Like It Here,” where the house staff’s crisp, synchronized movements brought a real sense of precision and humour to the piece. The pacing across both acts was consistent, though the growing distance between Annie and her would-be family took some of the emotional shine off Act 2.
Musical highlights included “Easy Street” and “We’d Like to Thank You, Herbert Hoover.” I wouldn’t have complained if there had been more stage time for Sandy the dog — who, if audience reaction is any measure, was the real star of the evening. Sandy was clearly the crowd favourite — bounding across the stage with more enthusiasm than half the cast and earning the loudest applause of the night (including during final bows, where Sandy rightfully got their moment).
If I’m honest, Annie was never going to be my cup of tea — but that’s fine. I still enjoyed a solid night of live theatre, even if the promised dose of optimism never quite arrived.
🚙🚙🚙🚙/5
