Annie, at Princess Theatre and touring - 2 hours 30 minutes, including interval

With an introductory nod to J.C. Williamson’s premiere season of Annie in Melbourne in 1978, this intoxicating, family friendly musical sizzles and sparks anew.

All the elements – music, performance, staging, choreography, lighting and sound – come together seamlessly and make for a delightful night at the theatre.

Despite being set during the Great Depression, Annie is a joyous production that is wholesome and uplifting.

The story is that of an 11-year-old redhead, abandoned at birth by her parents at the New York City Municipal Orphanage, who still holds out hope of finding them.

Photos by Daniel Boud

To that effect, she often escapes, only to be returned to face backlash from the girls’ irresponsible, drunk and disillusioned matron, Miss Hannigan.

Annie’s luck finally changes when billionaire businessman Oliver Warbucks’ dutiful secretary Grace Farrell seeks out an orphan for Warbucks to spend Christmas with.

Ignoring Miss Hannigan’s protestations, Grace chooses Annie, who is immediately transported to a life most children (and adults) could only dream of.

To that point, Warbucks – himself an orphan who made good and kept going – has been totally wrapped up in his work, but Annie turns his head and how!

In fact, Warbucks quickly gets to the stage where he would very much like to adopt Annie, although she remains intent on finding her birth parents.

So, Warbucks posts a hefty reward to try to track them down, the result of which is more than a little skulduggery.

Mind you, that is not before Annie has delighted not just all of Warbucks’ loyal staff, but no less a figure than the US President.

With the country reeling, Franklin D. Roosevelt is taken by her optimism in the face of adversity and is empowered to act.

With music by Charles Strouse, lyrics by Charles Charnin and a book by Thomas Meehan, Annie is based on Harold Gray’s comic strip Little Orphan Annie.

The strip premiered in the New York Daily News in the 1920s and was popular in the 1930s and ‘40s, while the musical debuted on Broadway in 1977.

I must start my thoughts about this 2025 musical version of Annie with a heartfelt reflection on the endeavours of the children in the cast.

They are terrific young exponents of their craft – full of energy, enthusiasm and drive.

Individually and collectively, the “orphans” set the scene for the mischief and mayhem in the company of battle-axe Miss Hannigan.

Being underage, there are three or four alternates for each role.

On opening night, Isabella Hayden played the pivotal part of Annie confidently, hitting the mark in both spoken word and musicality.

Another scene stealer was Bibiana Brudan as young Molly, to whom Annie provides reassurance in the opening scene. Bibiana has pep and style.

She and all the youngsters did beautifully, not missing a beat.

And then there is the irrepressible master of musical theatre, Anthony Warlow – what command and control he displays as Oliver “Daddy” Warbucks.

He helps drive the narrative with his melodic tone and assured demeanour.

Debora Krizak’s comic, bleary-eyed representation of the matron under siege is superb.

Keanu Gonzalez makes good as her scoundrel of a brother, Rooster, who has just been released from the clink and looks to cash in on Warbucks’ largesse.

Mackenzie Dunn plays along well as Rooster’s new gold digger girl, Lily St Regis.

There is a warmth and can-do attitude about Amanda Lea Lavergne as Warbucks’ trusted secretary, Grace.

The original lead singer and founding member of The Wiggles, Greg Page, makes for an inviting President Roosevelt. He transitions to musical theatre with distinction.

Tom New ensures a fun-filled ride as the butler at Warbucks’ Mansion.

The leads are ably assisted by the ensemble, who fill the multiple other parts with alacrity and spirit.

Special mention must be given to the hairy canine, Sandy, who alternates with Bodhi, as Annie’s living, breathing four-legged companion. Sandy brings the house down at every appearance.

From the opening video montage to the close, I was mighty impressed by Annie’s staging.

I speak of the projections by Craig Wilkinson and the scenery by Kenneth Foy.

Evocative monotone sets represent the orphanage and destitute on the streets.

They give way to the colour, elegance and grandeur of Warbucks’ Mansion and are well supported by dynamic lighting and sound. Gavan Swift and Michael Waters, respectively, are responsible.

And then there is the perky choreography by Mitchell Woodcock, which works a treat.

From smocks to sharp suits and formal attire, costuming by Kristian Fredrickson well captures the rich and poor conceit in Annie.

And who can go past the glorious tunes, none better than Tomorrow and It’s The Hard Knock Life?

They are expertly realised under the baton of Musical Director David Piper and his accomplished orchestra.

With fine direction from Karen Johnson Mortimer and resident director Trudy Dunn, Annie is a showpiece of musical theatre.

With old world charm, it is highly entertaining and immensely enjoyable, generating smiles all around.

It is akin to being enveloped in a warm, cosy blanket by a crackling fire on a cold winter’s night.

Annie is playing at Princess Theatre until 26^th October, 2025, before moving to Lyric Theatre, QPAC in Brisbane in December.