HIGHLY RECOMMENDED
“Annie” by Music Theater Works at North Shore Center for the Performing Arts in Skokie offers a message of hope during desperate times that has an eerie relationship to the present.
The popular musical with music by Charles Strouse, lyrics by Martin Charnin and book by Thomas Meehan, is based on an equally popular 1885 poem “Little Orphan Annie” by James Witcomb Riley and a subsequent comic strip of the same name. The comic strip debuted in 1924 in the New York Daily News (owned by the Chicago Tribune), then ran in various newspapers for the next 86 years.
The uplifting story of a distinctively red haired, hopelessly optimistic, depression era orphan named Annie keeps the story firmly rooted in the early 1930s where the stark contrast between the haves and have-nots was plainly evident everywhere. This was especially true in urban centers like New York City where fortunes large and small were lost in the 1929 stock market crash.
Masses of people were reduced to selling apples or pencils on the street and living in improvised shanties nicknamed Hoovervilles, a portmanteau designed as a dig against outgoing President Herbert Hoover whom many considered responsible for the current conditions.
In the meantime, President Franklin Delano Roosevelt struggled to cobble together a number of relief initiatives that would become “The New Deal” including the Works Projects Administration (WPA) and Social Security for the elderly.
This version of the stage play begins with projected depression era images during the overture played by the MTW 16 piece pit orchestra led by Linda Madonia to set the mood and feeling of the time.
The opening lament, “Maybe” sets up the problem and introduces us to the eponymous orphan, Annie (Elin Joy Seiler) who dreams of reuniting with her parents and muses about what they might be like. Reality soon emerges with the orphan girls explaining their dismal lot singing, “Hard Knock Life.”
This is a showstopper as an assortment of exceptionally talented girls sing and dancd with expert precision led by choreographer Maryanne Nunn and music director Michael McBride.
Each of the girls show their individuality with none of them mugging for attention. However, the diminutive Molly (Audrey Bucholtz) is a scene stealer throughout the production, through no fault of her own.
Annie manages to briefly escape the orphanage rescuing stray dog “Sandy” along the way and singing, perhaps the best-known song from this play, “Tomorrow.”
Film actor W.C. Fields is often credited with saying, “Never work with dogs or children.” In this case, Seiler demonstrates her ultimate professionalism and comfort on stage as she manages to contain the loosely leashed and somewhat distracted Sandy (Nosi) while delivering her big number.
Back at the orphanage, boozy proprietress Miss Hannigan (Sarah Smith) opines her total contempt of the children in the comically mean spirited, “Little Girls.”
Smith finds a perfect balance of comic evil that is distinctively her own and not overly derivative of other well-known performers of this role.
Annie is returned to the orphanage about the same time Grace Farrell (Desiree Gonzalez) appears, looking to invite an orphan to spend the Christmas holiday with her employer Oliver “Daddy” Warbucks (Michael Metcalf). Annie is of course chosen.
This begins the relationship between the poor parentless child and the billionaire financier, setting up an opportunity to appreciate the stark contrast between those who are suffering and those with excessive wealth and privilege.
Metcalf is perfect in this iconic role. His well-modulated speaking and singing voice as well as his physical stature is commanding and authoritative shifting to a more sensitive demeanor when necessary and his suit fits impeccably.
I am a fan of Chicago area costume designer Rachel Sypniewski. She did a stellar job paying attention to each performer from the orphan girls and Warbucks’ household staff through to Annie’s make over and iconic final dress reminiscent of her comic-strip persona. Sypniewski understands that Warbucks and Annie as well as PA Farrell can’t look like they shop off-the rack so the tailoring is superb.
When Annie arrives at the Warbucks estate she asks if this is where he lives or is it a train station. The scenic design team of Jacqueline and Richard Penrod achieve an over-the-top impression with cartoon inspired scenic projections that decorate the background and flood the proscenium arch, creating an illusion of immersive opulence in which Annie sings, “I Think I’m Gonna Like It Here.”
Another big number in Act I, “Easy Street,” introduces us to Miss Hannigan’s equally despicable brother Rooster (David Geinosky) and his female accomplice Lily St. Regis (Emily Holland). Geinosky employs a particularly gracefully exaggerated comic-like physicality.
In Act II Annie’s hope of finding her parents aided by Warbucks with the help of President Roosevelt (Bob Sanders) is nearly dashed by the “Easy Street” trio but ultimately comes to a satisfactory conclusion.
This is a comic come-to-life, and though there are some serious aspects to the message it is easily consumable by all ages. I was surrounded by a number of children between 5 and 10 years old who seemed absolutely captivated and not the least bit bored throughout the entire production.
Director Kyle Dougan-Leblanc kept the pacing quick with captivating projections accompanied by Madonia’s orchestral incidental music during scene changes, keeping the audience involved and focused.
This company always does a great job but this production is perfection.
“Annie” by Music Theater Works at The North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL through January 4, 2026. Running time about 2 hours and a half with one 15-minute intermission. For tickets and information visit musictheaterworks.com or call (847) 673-6300.
Reviewer: Reno Lovison
For more reviews visit Theatre in Chicago
