By James V. Ruocco
The infectuous vitality of the Broadway Method Academy students alongside dazzling Equity performers is the big draw in BMA's bright, energetic and colorful revival of "Annie," that ever popular 1970's musical where the sun always comes out tomorrow, dreams can and actually do happen and the characters of Depression-era America have a catchy charm about them despite the poverty, the politics and the injustices of the times.
Brave,
Colorful.
Tuneful.
Outrageous.
Adorable.
Passionate.
This "Annie" is a great work of ferocious entertainment that amuses, cajoles, excites and leaves you clapping madly till your hand hurts.
Did you expect otherwise?
Of course, not.
Helmed under the prestigious Broadway Method Academy banner, this production has all the hallmarks of a great night of musical theater from catchy songs and high paced dance numbers to exceptional performances from kids, teens and adults and a finely-honed production team of creative talents that will knock your socks off.
And, oh, yes, there's that dog named Sandy, played by a lovable canine named Sunny, who, under the guidance of animal director and trainer William Berloni, gets my vote as the best Sandy ever. And I mean, "ever."
"Annie" is being directed by Connor Deane whose BMA credits include "Hair," "Carousel," "Little Shop of Horrors," "The Music Man" and last year's exhilarating production of "Evita." Up close, Deane personifies everything that's great about musical theater. He knows what works and what doesn't. He knows how to cast a show. He knows how to create a catchy build with plenty of flourish and momentum. He's an absolute creator of sorts with a wealth of information, knowledge and technique at his fingertips. He also comes to the rehearsal hall and performance space with the confidence and showmanship of a virtuosic storyteller anxious to craft the best and cleverest production to ever hit the stage.
With "Annie," he accomplishes just that.
Deane's take on "Annie," the musical story of a plucky, red-headed, eleven-year-old orphan who ends up living in the Warbucks Mansion on Fifth Avenue as the adoptive daughter of Oliver Warbucks, is direct, electric and virtuous. And while the story takes its cue, in part, from those every-popular comic strips, there is nothing one-note or predictable about this "Annie." Instead, Deane opts for a more rewarding, believable take on the "Annie" scenario, enhanced by straightforward storytelling, refreshing intimacy, cheeky humor and lilting musicality.
Here, as in "Evita," his staging techniques are thrilling, inspired, confident and enthusiastic. Everything he touches, creates and shapes justifiably reflects the intentions of Thomas Meehan's cleverly orchestrated book for the original 1977 Broadway production of "Annie" and its inspired lunacy, shtick, double takes, mayhem, characterizations and period jokes. Every actor's move, gesture, position, nuance and line delivery is spontaneous, crafty and light-hearted. Nothing that happens is ever questioned, out of place or out of sync for a single second. There are wonderfully timed bits of stagecraft and blocking that enhance the storytelling. Everything that happens is spontaneous and natural. And that, in turn, keeps this "Annie" in marvelous, high-spirited form.
Based upon Harold Gray's popular 1924 comic strip "Little Orphan Annie," the two-act musical features 21 Tony Award-winning songs, written by Martin Charnin (lyrics) and Charles Strouse (music). They are "Maybe," "It's a Hard Knock Life," "It's a Hard Knock Life (Reprise)," "Tomorrow," "We'd Like to Thank You," "Little Girls," "Little Girls (Reprise)," "I Think I'm Gonna Like It Here," "NYC," "Easy Street," "You Won't Be an Orphan For Long," "Maybe" (Reprise)," "You're Never Fully Dressed Without a Smile," "You're Never Fully Dressed Without a Smile (Reprise)," "Easy Street" (Reprise)," "Tomorrow (Reprise)," "Something Was Missing," "Annie," "I Don't Need Anything But You," "Maybe (Reprise)," "A New Deal For Christmas."
Punctuated with the lyrical magic that Charnin and Strouse strove so very hard to create, the "Annie" musical score is delightful, inspiring, high-spirited, tuneful and cheerful. All of the musical numbers are perfectly positioned within the framework of the actual story. Nothing is thrown in or out of place. Every musical moment heightens the story's advancement and appeal. And finally, the songs themselves are so very right for the characters who sing them.
Music direction for the Broadway Method Academy production of "Annie" has fallen into the more than capable hands of J. Scott Handley and Jad Bernardo, a very assured and talented musical duo whose combined credits include "Hair," "Carousel," "Into the Woods," "Five Guys Named Moe," "Ain't Misbehavin,' " Carrie: The Musical," "Urinetown," "Ragtime," "Little Women" and "Spring Awakening."
Given the popularity and familiarity of the "Annie" score, what's remarkable here is both Handley and Bernardo's fresh, pristine perspective toward the Charnin/Strouse material. Yes, we know the songs and the music, in particular, "Tomorrow" and "It's a Hard Knock Life." Yes, we know some of the lyrics by heart. Yes, we know what goes where and who sings what. Yes, we know when a song cue has been struck. And, yes we know that "Annie" will end with the rousing, playful anthem "A New Deal For Christmas," sung in perfect harmony by the entire cast.
Nonetheless, this incarnation of "Annie" often takes us by surprise, as though we are hearing "Maybe," "Tomorrow," "Easy Street," "You're Never Fully Dressed Without a Smile" and "It's a Hard Knock Life," among others, for the very first time. With Handley and Bernardo at the helm, backed by a first-class orchestral team (Phil Dolan, Mike Goodman, Jake Browstein, Matthew Suckling, Chris Smucker, Robert Patrick, Adam Myers, Daniel Dorrance, Jackie Chasen, Cristina Bustamante, Daryl Belcher), the Charnin/Strouse score for "Annie" has never sounded better, richer or fuller.
Handley and Bernardo, however, don't stop there. To incorporate the talents of everyone involved, from Equity performers to BMA students, some of the songs are slightly changed, enhanced and extended musically, which, in turn, makes them pop, snap and sparkle most agreeably. The character of Annie, for example, is now featured in the big choral number "We'd Like to Thank You," surrounded by the perplexed, angst-ridden denizens of Hooverville. "Annie," in turn, now includes snippets of "We Got Annie," from the 1982 film version. "You're Never Fully Dressed Without a Smile" also comes gift wrapped with additional musical bits as does "A New Deal For Christmas."
It's all seamless and perfectly synced, thus giving this "Annie" additional weight, charm and buoyancy.
The enlistment of Audra Bryant as choreographer for "Annie" is a stroke of genius. She is not only
agreeably fluent in the mechanics of musical staging, but she has devised a series of brilliant, innovative choreographic moves, beats, styles, rhythms and synchronizations that extend far beyond that of the original 1977 Broadway production. She surprises. She excites. She delights. She pushes boundaries to the max. She takes chances. She leaves you awestruck by her innate dance capabilities. And never once, does she repeat herself.
Bringing the many dances of the "Annie" story to life, she purposely expands, reinvents and designs more intricate, more flavorful, more fluid dance choreography that recalls the gold age of movie musicals from MGM. In terms of style and period authenticity, she makes the right, appropriate choices offset by dance maneuvers that explode and unfold with plenty of electricity, sparkle, froth, glamour and attitude.
But she doesn't stop there.
When necessary, the dances reflective in certain musical numbers are extended to not only showcase the talents of certain principals, ensemble members and BMA students, but to provide additional shading, scope and and dimension. This process also allows Bryant to add some dazzling, show stopping MGM movie musical choreography to various dance numbers, offset by some enlightening, energetic dance moves, combinations, pairings and twists that heighten the brilliance of this already imaginative production. This is "Annie" choreography like you've never seen before.
There are Miss Hannigan's and there are Miss Hannigan's. As envisioned by Klea Blackhurst, the Miss Hannigan of BMA's "Annie" is loud, blowsy, fiery and absolutely bonkers, everything the part calls for and more. With a belt voice that harkens memories of Ethel Merman, the actress/singer turns "Little Girls" and "Easy Street" into the genuine showstoppers they were meant to be, using that familiar trumpeting sound and vocal flair that Merman was famous for. But she's no copycat. She owns the part of Miss Hannigan front, line and center, instead of just playing it. She's a marvelous comedienne. She's a first-class songstress. She's also an original who brings additional nuance, shading and pulse to the oft-played character of Miss Hannigan, the alcoholic caretaker of the Municipal Girls Orphanage.
They don't come any better than Ava Lynn Vercellone, the versatile young actress who takes on the lead role of Annie, once played by Andrea McArdle, Sarah Jessica Parker, Shelley Bruce and Aileen Quinn, among others. Spunky, feisty, adorable and driven, Vercellone plays the part perfectly and enthralls everyone around her with her full-voiced renditions of "Tomorrow," "It's a Hard Knock Life" and "Maybe." As billionaire Oliver Warbucks, Paul Schoeffler is in fine voice throughout the production wisely allowing his character's big heart to override his wealthy pomposity and larger-than-life persona. Vocally, he takes charge of every one of his musicals numbers including "NYC" and "Something Was Missing" and offers fresh, ripe interpretations that reveal his great vocal stamina, flourish and range.
Julie Kavanagh, last seen as Miss Gardner in BMA's fiery production of "Carrie:The Musical," finds just the right amount of ditz and zaniness to bring the part of Lily St. Regis, the dumb, whiny girlfriend of Rooster Hannigan, so vividly to life. There's snap and polish to her broad comic strokes. Her dancing is absolutely dazzling. Vocally, she is at her peak and communicates her character's dumbness and obvious sexiness in true 1930's movie fashion. As Grace Farrell, the personal secretary of Oliver Warbucks, Lauren Sprague is glamorous, sophisticated, charming and personable. She has the right mindset and body language for the character of Grace, matched by exceptional acting and vocal skills. She's not only perfect for the part, but does so much more with it than Sandy Faison did in the original 1977 Broadway production.
As radio announcer Bert Healy, Kai Marrelli, last seen as bad boy Billy Nolan in last year's "Carrie: The Musical" at BMA, offers yet another full-bodied performance chock full of charm, wit and personality. Getting to sing one of the show's most popular songs, "You're Never Fully Dressed Without a Smile," Marrelli has range, vocal roundness and pitch-perfect musicality. Even better, he puts his own personal stamp on the song, thus, making it more of a standout, backed by exceptional orchestral accompaniment and the sound of his catchy, sweet-sounding voice.
As the slippery-smooth Rooster Hannigan, Nicholas Rodriguez executes all the right moves as the show's arch comic villain. He's in fine form as singer and dancer, most evident in the showstopping "Easy Street" and its much-welcomed "Reprise." Dan Remmes cuts loose with a decidedly different portrayal of FDR that gets laughs in all the right places when the actor's drifts back and forth between comic book character and egotist President anxious to stand out in the crowd, the political arena and the spotlight. It's high camp, played out to sheer perfection.
One of the key points of this production is to showcase the vocal, acting and dance talents of the dedicated, hard-working students of the Broadway Method Academy. And what better way to do that than with the frisson of vitality and animation that is "Annie."
Under the deft, invigorating tutelage of Deane, Handley, Bernardo and Bryant, each BMA cast member succumbs to the confident beat, spark and allure of this dazzling production. As performers, they are assured, animated, emotional young artists, completely in sync with the "Annie"" story, its musicality, its humor, its warmth, its theatrics its comic book tonality. And finally, they reflect BMA's on-going commitment to nurturing and shaping the raw, real, refreshing talent of tomorrow.
One of the best productions of "Annie" to be staged in the area during the last five years, this rousing, completely pleasurable revival has enough heart, soul and passion to last a lifetime. It is energetic and optimistic. The entire cast exudes the kind of seasoned professionalism one finds in a Broadway or West End show. Every one of the songs feels as fresh now as it did way back when "Annie" made its Broadway debut back in 1977. And just like last year's "Evita," also produced under the Broadway Method Academy banner, this production is not only an absolute revelation for everyone on stage, behind the scene's and in the audience, but one that reaffirms the pulse, the ingenuity, the mindset and artistic sophistication that is BMA,
Broadway Method Academy's production of "Annie" is being staged at Westport Country Playhouse (25 Powers Court, Westport, CT), now through February 17
For information about Broadway Method Academy, call (203) 675-3526
website: broadwaymethodacademy.org
For tickets or more information about "Annie" at Westport Country Playhouse, call (203) 227-4177.
website: westportplayhouse.org
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