Yes, it is the seventh time this season in the valley that someone is donning a red wig while someone else has shaved their head. But this time, we get dinner before. Broadway Palm West Dinner Theatre's version of Annie is also different thanks to some liberal cutting and pasting by Director M. Seth Reines in an attempt to give this version more dancing for Choreographer Marie Jagger-Taylor. Gone is the political subplot with the scenes of Hooverville and FDR and his Cabinet giving everyone a New Deal for Christmas. This version focuses solely on Little Orphan Annie and Daddy Warbucks as they battle the evil Miss Hannigan, her brother Rooster and his leggy moll Lily St. Regis. Under ordinary circumstances, I'd be severely put-off by such extensive tinkering, but there's a plus-side to Mr. Reines' machinations: it means we get to spend more time with his excellent cast, especially Kimiko Glenn and Edward Mitchell.
There is no doubt that this production is catering to the kiddies. The buffet features a laundry list of comfort food, including enjoyable versions of macaroni and cheese, carved turkey, pork chops and Chicken a'la King, and more mundane offerings like chicken and fish nuggets. At least there's no lukewarm gruel or cold mush.
In the midst of his extensive and questionable revisions, Mr. Reines has forgotten to give us another rather important directorial choice, shading. This show is relentlessly perky, even perkier than most Annie's I've seen. Everyone is smiling nearly all the time. Those moments when there's sadness or trepidation, grins flip upside down, but are soon replaced by high-kicking steps and even more grinning. An example of one moment that could use another emotion comes during the "N.Y.C." sequence, when Clarissa Grace's Star To Be sings of her future success. The line "Tonight, the Y/Why Not? It's N.Y.C." is sung with the same gusto as her dreams. Choices such as wistfulness, contemplation or even simple hesitation are tossed aside for bright smiles and overheated pacing.
But then there's Ms. Glenn and Mr. Mitchell. Mr. Reines has boldly cast against race, but there's no reason to doubt his choice the minute she hits the stage: Ms. Glenn is Annie. She is extremely professional, exudes stage presence and sings like a trouper. Not since I saw Andrea McArdle have I been this impressed with a red headed moppet. During the first presentation of "Tomorrow," she was able to control a hyper Sandy (Angel, the pet of one of the BPW crew) and still belt to a great finish. That's real talent. Most ordinary actors would pale next to her, but Mr. Mitchell, recently seen as Col. Peron in BPW's excellent Evita, keeps with her stride for stride. He takes this hackneyed character and imbues him with all kinds of feeling. When he sings, his round basso profundo is a great contrast to Ms. Glenn. These two alone are worth the trip.
The remainder of the ensemble ain't too shoddy, either. The six orphans that support Annie (on the Saturday I reviewed, that included Diana Woodruff, Erin Hines, Kayla Long, Thea Woodruff, and Megan Fletcher) are thoroughly professional and cute. Elizabeth Loos takes Miss Hannigan as far to the top as possible while still remaining visible. Her belter voice and elastic face are effective. Denny McNamara's Rooster pales a bit in comparison, as he doesn't fill the space overwhelmed by Ms. Loos. Danika Osterman is somewhat wasted as Lily: It's obvious that there's a lot of talent there, but not much chance to do more than chomp gum and drape herself on furniture. Jennifer Bernstone's Grace is very good, even as she is required to speak a lot of the subtext that has been stripped away from the script.
Ms. Jagger-Taylor's choreography is peppy, and supported well by JR McAlexander's orchestra. John C. Rager's set is effective, as is Russell Thompson's lighting. Ruben Permel's costumes are solid, if just barely period.
In all truth, when I first saw it as a youth, I loved this show. I must have listened to the cast album thousands of times. I dreamed of playing Rooster, strutting around the stage and crowing. I've seen it many times since, and this has to be one of the strongest casts I've seen assembled. I'm just sorry that the version of Annie they're working so hard to produce is a lot thinner than the one I first adored.
Production Details:
Annie Book by Thomas Meehan,
Music by Charles Strouse, Lyrics by Martin Charmin
Broadway Palm West
Dinner Theatre, Mesa
(For a map to location,
click this
link)
(480) 325-6700
July 19th - August 31st, 2002