The internet has been abuzz over the latest revival of Annie after sneak peeks of the show-stopping ‘Easy Street’ were shared online. (The Scoop’s clip has just hit a quarter of a million views). Fans around the world have been losing their minds at the sheer talent on display, with one comment summing it up perfectly: ‘Broadway is so back.’ It’s clear audiences are hungry for an authentic, live theatrical experience, and this version of Annie feels like a golden age has returned.
The opening night performance paid a loving tribute to the luminaries of the 1978 Australian premiere. The stalwarts of the original musical shone a warm glow over the evening, with Kevan Johnston and Jill Perryman’s legacy also weaving a family thread into this revival. Kevan and Jill’s daughter, Trudy Dunn, is Resident Director, while their granddaughter, Mackenzie Dunn, plays Lily St. Regis.
The fans were out in full force, wearing a splash of signature Annie red that turned the dress code into a celebration. The crowd cheered with every character’s first appearance, proof of the production’s magnetic pull. This enthusiasm didn’t wane; it surged in Act Two. Even the dazzling Boylan Sisters (Emily Casey, Suzanne Steele, and Madeline Pratt) and the orphans’ ‘Fully Dressed’ kick line ignited a cheer!
Annie is set against the gritty backdrop of New York City in 1933, where President FDR grapples with the Great Depression’s crushing grip. Jobs are vanishing, homes are crumbling, and even billionaire Oliver Warbucks feels the sting as his factories grind to a halt. Returning from a whirlwind tour to survey the economic wreckage, Warbucks heads home for Christmas. He’s tasked his private secretary, Grace Farrell, with a mission: invite an orphan to his Fifth Avenue penthouse for the holidays. What he forgets to mention? He wanted a boy. Instead, Grace selects the scrappy, 11-year-old Annie from the Municipal Orphanage’s Girls Annex.
But Annie carries a flicker of hope. Convinced she’s no true orphan, she regales anyone who’ll listen with the tale of her parents’ promise. Abandoning her as a baby with a note vowing their return, Annie’s parents left her with a locket bearing half a heart. Clutching these keepsakes like a lifeline, Annie dreams of the day they’ll reappear and turn her world from grey to gold. It’s not long, however, before Annie ignites a heartwarming bond with Warbucks that defies his business minded exterior.
The titular star, Dakota Chanel, brings a refreshingly sweet demeanour to Annie. There’s a softer edge that distinguishes her from past portrayals and instantly wins hearts. With a voice as crystalline as a bell, she hooks us from the opening scene with a poignant lament of ‘Maybe.’ The recurring melody weaves a tender thread through the show.
Annie’s iconic look evolves here too. Trading decades of varied styles for a sleek, straight bob with a fringe, her hair echoes pop culture legends like Maddie Ziegler or Uma Thurman. Annie’s hair blossoms into an era-authentic stylish curly bob for the joyous red-dress finale.
Chanel’s vocal prowess shines brightest in ‘Tomorrow,’ a tour-de-force moment nearly derailed by Sandy the dog’s untimely scratching, which threatened to upstage her with canine chaos. Undeterred, her Act Two reprise—sans furry co-star—serves as a triumphant do-over, solidifying the song as a standout highlight.
Living National Treasure Anthony Warlow AM reaffirms his mastery as ‘Daddy’ Warbucks, a role he seems born to play. He radiates a soul-stirring warmth, drawing tears as we witness a man—himself orphaned at age ten—discover that wealth is hollow without loved ones to share it with.
Warlow’s vocals soar in ‘Something Was Missing,’ while his impeccable comic timing lands each punchline. This is Warlow at his peak, blending vulnerability and virtuosity to make Warbucks an unforgettable heart of the show.
As Grace Farrell, Amanda Lea LaVergne has a radiant elegance and an assured yet understated presence. Her performance evokes the sophisticated charm of a Julie Andrews-esque Mary Poppins, blending poise and warmth.
Debora Krizak is deliciously villainous as Miss Hannigan. Sporting a wicked, throaty laugh, her version of ‘Little Girls’ gives goosebumps. Watching her take out her rage on a baby doll while she delivers the song is just priceless.
Krizak’s ‘Easy Street’ is the Act One showstopper, with killer choreography by Mitchell Woodcock. Joined by dynamic duo Keanu Gonzalez and Mackenzie Dunn (who were last seen stealing the show in Grease as Kenickie and Rizzo), they make a formidable trio. Dunn, in particular, as the blonde gangster’s moll Lily, delivers a performance you can’t take your eyes off. As Rooster, Gonzalez is her perfect match and together, the pair leave us wanting more. Act Two’s ‘Easy Street (Reprise)’ serves as a welcome encore performance.
It wouldn’t be Annie without the orphans, and the cast of six shine brightly. Their spirited rendition of ‘It’s The Hard Knock Life’ delivers a powerhouse performance that sets the tone. Ellie Lang’s adorable yet sassy Molly holds her own with cute charm. Matilda Teiotu’s tough-as-nails Pepper adds a feisty edge with her lippy retorts.
As Tessie, Cailin Scully’s acrobatic flair dazzles in the aforementioned ‘Hard Knock Life.’ Camille Nko’o steals a moment as Duffy with her standout solo in ‘Fully Dressed.’ Chloe Delle-Vedove impresses with her dance skills as July, and Skylah McMah delights with her masterful physical comedy as Kate. Rounding out the child cast is Zoe Reeves, as Friday with a cameo in ‘N.Y.C.’
Speaking of cameos in ‘N.Y.C,’ Nakita Clarke is a revelation in her solo as the aptly named, Star To Be. Her performance was also responsible for generating a huge pre-show buzz on social media, in part due to her tender age of just 17 years.
The ensemble is vocally outstanding and each has a chance to shine in small character roles. Tom New is a crowd favourite as the loveable English butler, Drake. Cameron Boxall is memorable as the neurotic radio host Bert Healy and gets laughs in the Oval Office.
Forever known as the original Yellow Wiggle, Greg Page is a delightful inclusion as President FDR. He expertly harmonises with Warlow and charms in his scenes with Annie.
The technical team, led by director Karen Johnson Mortimer, with scenery by Kenneth Foy, elevate the stunning Capitol Theatre stage, itself a visual marvel. David Piper and his orchestra deliver the toe-tapping, jazz-inflected score with relish.
In 2025, Annie’s anthem, ‘Tomorrow,’ takes on a whole new meaning. Its sweet optimism reminds us that, even in the darkest times, faith, hope, and the human spirit can see us through. Cos you gotta hang on til tomorrow, come what may…
Annie runs until 21 June at the Capitol Theatre, Sydney, 13 Campbell Street Haymarket 2000.
It transfers to the Princess Theatre in Melbourne from July and the Lyric Theatre Brisbane from December.
Tickets are on sale now via Ticketmaster.
Website: https://anniemusical.com.au/
Socials: https://www.instagram.com/anniemusicalau/
Photo credits: Daniel Boud
Leave a Reply