Review: Annie (New Wimbledon Theatre / UK Tour)

Review by Sam Woodward

⭐️⭐️⭐️⭐️⭐️ 

Some of the most successful musicals are named after captivating leading female roles. Evita, Aida, Amélie and Matilda, to name just a few. Annie, winner of seven Tony Awards, belongs to this illustrious list. There comes a certain expectation when watching such a beloved show, especially one that, for so many of us, is tied up with childhood memories. Whether performing it as part of a school show, watching the film, or seeing it live on stage, Annie has been part of the lives of countless children and adults since it first opened in 1977. Sitting in the New Wimbledon Theatre, as a warm radio broadcast filled the auditorium before the show had even begun, and children slowly appeared on stage to clean, read, play and relax in their beds, I couldn’t think anything other than ‘I Think I’m Gonna Like It Here’.

With a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin, Annie first opened on Broadway and ran for almost six years. Based on the 1924 comic strip Little Orphan Annie, the show is set in 1930s New York and follows Annie as she tries to escape the tyrannical Miss Hannigan and find the birth parents she believes are out there somewhere. As a feel-good family musical, Annie brings together friendship, hope and the power of chosen family, while also touching on poverty, neglect and widespread hardship. Those themes still feel remarkably relevant today, and this new UK tour meets them with a stellar cast whose energy, commitment and visible joy are palpable.

Directed by Nikolai Foster, this newest production understands exactly where the heart of Annie lies. A show with young performers, a live dog, a big comic villain and some serious emotional weight could easily become chaotic or kitschy, but Foster keeps everything beautifully balanced. The humour lands, the heartwarming moments feel sincere, and the heavier undertones are present without ever overpowering the sheer brightness of the piece. There is a warmth carried through the whole production, but also a sense of discipline and control. This is not a company simply relying on the audience’s affection for the material. It earns that affection again and again.

As Annie, Victoria Alsina is cheeky, strong and completely captivating from her first rendition of ‘Maybe’. Sharing the role with two other actresses during the run, Alsina fills the stage with an energy that makes her shine whether she is alone centre stage or part of the larger ensemble. She is magnetic, working tirelessly across song, dance and acting, and filling the theatre with a voice far bigger than her years. No one on stage works alone, of course, and she is supported by a superb group of young performers. The children are energetic, playful and impressively precise, never putting a toe out of line unless, of course, they are trying to infuriate Miss Hannigan. Kudos, too, to Dizzy, the beautifully behaved cockapoo playing Sandy, who seemed to be having the time of their life, as well as a lot of treats.

La Voix arrives as Miss Hannigan with a serious showbiz presence. Well known for her recent stint on Strictly Come Dancing as well as RuPaul’s Drag Race UK, it is easy to see why she has become so well-loved by the British public. With her iconic red hair firmly in place, she is a powerhouse of comic timing, theatrical spite and impressive vocals. Her rendition of ‘Little Girls’ is deliciously sour, giving the character a sharp, villainous edge without ever reducing her to a lazy caricature. There is cruelty there, but also desperation, ridiculousness and a gloriously exaggerated sense of self-pity. Tanisha-Mae Brown is especially excellent as Grace Farrell, bringing an impressive voice, tenderness and the control needed for Daddy Warbucks’ loyal assistant. Alex Bourne’s Warbucks is also beautifully judged, moving convincingly from tough businessman to doting father figure. Together, they give the production its emotional shape: Annie’s optimism, Miss Hannigan’s savagery, Grace’s gentleness and Warbucks’ gradual softening all feel carefully balanced.

The wider ensemble deserves just as much praise, giving the production much of its life, momentum and theatrical sparkle. Playing a variety of characters from the destitute citizens of Hooverville to the dazzling household staff of the Warbucks mansion, and even a horse and carriage in Central Park, this ensemble is far more than background support. They bring nuance, humour and drive to every scene. Elliot David Parkes makes a vivacious and animated Bert Healy, while Carl Sanderson brings warmth and authority to President Roosevelt. The tap dancing sequence is beautifully executed, looking effortless while sending a palpable buzz through the auditorium. It is no small feat to keep an audience made up largely of children fully engaged, particularly in 30-degree heat, but this cast achieved it with ease. The audience was captivated, with long bursts of applause, gasps and laughter filling the theatre throughout the show.

Much of the show’s success is also due to a formidable creative team. Nick Winston’s choreography is dynamic, detailed and imaginative, using movement to push the story forward rather than simply decorating it. Colin Richmond’s set cleverly combines the visual language of a children’s puzzle with the architecture and bustle of New York. The use of compact set pieces, often necessary for a touring production, is handled with real ingenuity, allowing the world of the show to shift quickly without ever feeling small. The contrast between the orphanage and Warbucks’ mansion is captured with clarity, while the streets of New York feel busy, bright and alive. Richmond’s costume design also reflects both 1930s elegance and Depression-era poverty with care and sophistication. George Dyer’s orchestrations feel fresh and delightfully cheerful, giving these beloved songs a renewed brightness while preserving everything audiences want to hear. Across the production, there is a real sense of cohesion, with every creative element working towards the same joyful whole.

It is true that ‘You’re Never Fully Dressed Without a Smile’, and by the time the standing ovation arrived during the bows, Annie had the entire audience grinning. Watching so many children sit captivated in the auditorium, I found myself hoping that some of them might become as engrossed and obsessed with theatre as I was when my parents first took me to a show. The next generation of theatre stars may well have been sitting in the New Wimbledon Theatre, and it would be hard not to fall in love with the joyful energy that filled the room. This production of Annie dazzles and is a testament both to musical theatre and to revivals that remind audiences why certain shows endure. It is a spectacular showcase of what happens when every aspect of a production is carefully planned, generously performed and brilliantly executed. There’s no ‘Maybe’ about it: this is a hit.

Annie plays at New Wimbledon Theatre until 30 May before continuing its UK tour. Tickets from www.anniethemusicaltour.uk 

Photos by Paul Coltas