Guest Writer: Sophie Mason
During a particularly rainy weekend, the sun definitely came out in Warner for Brisbane Musical Theatre’s production of 'Annie.' Featuring performers young, old and even the dog variety, ‘Annie’ tells the story of a young orphan and her journey to rise above her circumstances. Annie and her friends are under the thumb of the tyrannical Miss Hannigan (Meg Kiddle). However, when billionaire Oliver Warbucks (Andrew Dark) invites Annie to his home, her situation is quickly transformed. ‘Annie’ is a story of hope, optimism and believing that even the darkest clouds will clear.
Hosted at Emerge Church, the simple yet effective technical elements effectively centred the audience’s attention and shifted time and place throughout the production. Backgrounds were projected onto the back wall of the stage and worked wonders in adding atmosphere and context. A particular highlight was the New York City sunset which created silhouettes of the bridge and basted the beggars in a warm light as if they were on the streets of New York.
Lighting design by Spencer Mitchell, firmly supported the locations of each scene and mimicked the colours within the backgrounds. Actors were well lit at all times and the use of the spotlight - operated by Jhaelein Le Moyne - ensured that the audience’s eye was led to the action on stage.
Set design and construction by Jose De Andrade and Jesse Bradford ensured scenes transitioned swiftly and effectively. There were enough elements on stage to delineate time and place, however, not too many to create lengthy change overs. Double sided trusses and small tables and props were all on wheels to seamlessly get items on and off the stage. Stage manager Sara Reynolds Thomas and her team were a well oiled machine and pulled off every set change with ease - a feat often not achieved on opening night performances!
Costuming by Sandie Mitchell and Andrea Halter was detailed and generally historically accurate. The class divide was clearly delineated with costuming, with the ensemble transforming from beggars on the street to the well-polished servants of Daddy Warbucks. The comedic caricatures of Miss Hannigan, Rooster (Jesse Bradford) and Lily St Regis (Tamsyn Doyle) were reflected in their clothing. From the bejeweled Miss Hannigan to the larger-than-life stylings of Rooster and Lily, all characters were well represented.
Direction by Jack Bradford and Jose De Andrade was considered and effective. For a production that’s known for its show-stopper numbers, it was lovely to see moments of tenderness throughout the production. Mark Beillby nailed the iconic Annie soundtrack with his nine-piece orchestra. It was a powerful moment to hear the iconic song ‘Tomorrow’ with such strong backing. All songs were elevated under the direction of Bielby with ensemble vocals having layered harmonies and all leads solid in their vocal tracks and dynamics. Sound by Stephen and Neil Moodie was well-balanced and clear.
Choreography by Jada Parsons was perfectly tailored to the skill level of those in the cast and allowed everyone to shine. A particular highlight was ‘You’re Never Fully Dressed Without a Smile’ where the orphans broke out their tap shoes and were able to show off the incredible talents in the youth ensemble.
Whoever said never work with children or animals clearly hadn’t seen this production of ‘Annie’! The orphans were switched on and in character at all times with gorgeous vocals and acting choices to boot. It was so lovely to see the rapport that has clearly been built amongst this group of young stars. There were great moments of comedy, particularly during the scenes where the orphans are interacting with Miss Hannigan. Olivia Cowdrey as Molly was particularly magnetic and brought the perfect level of sass, heart and humour to the role.
Many of the adult ensemble doubled as named characters within the production. Highlights included Kiana Tann’s flawless vocals as the Star to Be, Kaelan Tann’s shoe tap routine, Robyn Lupton’s exchanges at the white house and Mark Westaway as the ever-present and always helpful Drake. The adult ensemble worked well as a group to bring dimension to the production. A highlight was the gritty number, 'We’d Like to Thank You, Herbert Hoover.' Their dynamic energy and sharp character work was a joy to watch.
Stuart Fisher delivered a standout performance as both the booming President Roosevelt and the charismatic Bert Healy. His ability to distinctly separate the two characters through nuanced characterisation was impressive, and his comedic timing added depth and humour to each role.
Jesse Bradford as Rooster and Tamsyn Doyle as Lily St. Regis brought charm and mischief to their roles as two-thirds of the greedy trio, rounded out by Meg Kiddle's commanding and hilariously brash Miss Hannigan. These three comedic powerhouses blended sharp physical comedy with their vocal performances, creating a dynamic portrayal of the bumbling villains.
Samantha Hancock was perfectly cast as Grace Farrell, bringing crystal-clear vocals and beautiful balance of gentleness and strength to the role. It was a delight to watch her relationships with both Annie and Warbucks blossom on stage. Playing alongside her, Andrew Dark delivered a captivating performance as Daddy Warbucks, combining powerful yet tender vocals with touching vulnerability. His portrayal conveyed the emotional journey of a man grappling with the complexities of his newfound relationship with Annie.
Saana Chang delivered a magnetic and charismatic performance as Annie (shared with Asher Tweddell), captivating the audience with her charm and natural stage presence. She infused the role with humour and warmth, and hit the iconic high notes with ease. Her interactions with Sandy the dog, played by Saffie the golden retriever, were particularly heartwarming and definitely melted more than a few hearts in the audience. Chang brought a fresh vibrancy to the iconic character and easily connected with others on stage.
The heartwarming message of love, resilience, and hope shone brightly in Brisbane Musical Theatre’s first production of 2025. ‘Annie’ reminded audiences of the power of optimism and the importance of family—whether chosen or found.
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