It’s become something of a tradition for Australian musical tours to finish in Brisbane, and Annie follows suit. With a story that culminates on Christmas morning in the Warbucks mansion, the production arrives at the perfect time. It is playing through the holiday season until the end of January.
The opening night crowd was awash in signature Annie red. It was heartening to see so many smiling young faces and families fill the Lyric Theatre to capacity.
Set in New York City in 1933, Annie unfolds against the hardships of the Great Depression, a time when even billionaire Oliver Warbucks feels the strain as his factories falter.
Returning home for Christmas, Warbucks asks his secretary, Grace Farrell, to invite an orphan to stay in his Fifth Avenue penthouse. What he doesn’t specify is that he expected a boy. Instead, Grace brings home the spirited eleven-year-old Annie from the local orphanage.
Armed with a half-heart locket and a note, Annie clings to the hope that her parents will one day return for her. As her optimism and resilience begin to soften Warbucks’ hardened exterior, an unexpected bond forms, one that just might change both their lives forever.
I had the rare privilege to catch this production, directed by Karen Johnson Mortimer, when it opened in Sydney in April 2025. It is a treat to see it again and observe its evolution.
This marks Anthony Warlow’s fourth turn as Daddy Warbucks, following Australian seasons in 2000 and 2012, and a Broadway appearance later that same year, (a production I was also lucky enough to see in New York).
Warlow has only deepened the role with time; the character now feels completely embedded in him. He is grounded, generous, and assured. Warlow anchors the production, leading the company with quiet authority. He takes the audience with him, landing every joke along the way.
Warlow’s onstage counterpart is played by his real-life wife, Amanda Lea LaVergne, as Warbucks’ devoted secretary, Grace. Together, they bring genuine warmth to the production, with an ease and trust that deepens the emotional core of the show. Their shared history only adds to that chemistry: the pair first met during the Broadway production of Annie, where LaVergne covered the role of Grace.
This beautiful pairing is completed by Annie, our show’s star, played on opening night by Isabella Hayden. Having recently shared the role in the Melbourne season, her chemistry with her two adult co-stars was immediately evident.
Hayden’s renditions of the classic songs Maybe and Tomorrow will likely evoke tears, so bring tissues. If that doesn’t do it, Sandy the dog is guaranteed to melt your heart.
As I observed in my original review, this production’s titular star feels less feisty and more vulnerable. Resigned to a life of hard knocks and disappointment, our collective hearts both break and soar as Annie’s story unfolds.
The scenes in the Warbucks mansion are a highlight. They are complemented by the fabulous set design by Kenneth Foy and the assured ensemble who play the staff. As British butler Drake, Tom New quietly makes his mark. A character who at times finds it impossible to keep his emotions in check, he never overdoes it. Instead he brings just the right amount of charm, comedy and humanity to the role.
There are so many glorious songs, moments and characters, and on opening night, they included Easy Street, an Act One showstopper featuring the villainous trio, Debora Krizak, Mackenzie Dunn and Keanu Gonzalez. As Miss Hannigan, Lily St Regis and Rooster, their handling of Mitchell Woodcock’s choreography has only gotten better with time (if that is even possible!).
The gorgeous team of orphans received an extended applause during their Act Two showstopper, You’re Never Fully Dressed Without A Smile (Reprise). As a troupe of six, they make a tight unit. On opening night, they were played by Aenorah Wallace, Sienna Hannant, Kensi Simpson, Aubrie Wildman, Macy Salvana and Claire Taylor.
N.Y.C. is another Act One highlight number, channelling Broadway and the lights of the Big Apple. And the Tomorrow reprise in Act Two brought the house down, featuring Greg Page the original Yellow Wiggle as the President, joined by the spirited Whitehouse ensemble.
After all these years, Annie has lost none of its allure. Perhaps it is the evocation of a simpler time that gives the musical renewed significance for modern audiences. Certainly, its enduring message of hope, of holding out for a better tomorrow, continues to strike a chord. It reminds us that optimism, resilience and kindness remain just as vital today as they were when the show first premiered.
Annie the musical runs for a strictly limited season to 31 January 2026 at the Lyric Theatre, QPAC in Brisbane.
Tickets: https://anniemusical.com.au/tickets/brisbane
Website: https://anniemusical.com.au/
Socials: https://www.instagram.com/anniemusicalau/
Photo credits: Daniel Boud
