The curtain rises, and before we even get to a single 'Tomorrow', we’re dropped straight into 1933 New York.
Smoke curls over a crumbling skyline, B-roll flickers across the screen like a memory half-forgotten. The stage floods with dim light, revealing a row of tiny orphans sitting upright in their beds. From the get-go, it’s clear this isn’t some stripped-back revival. This 'Annie' is pulling out all the stops.
From the grand, gorgeously detailed sets to the sweeping, old-school staging, the production at Melbourne’s Princess Theatre feels like a time capsule cracked open – nostalgic, lavish, and unashamedly theatrical. And for the most part, it works. 'Annie' is a show that knows what it is: a fairytale musical set during the Great Depression, peppered with scrappy orphans, cartoonish villains, and the enduring fantasy that a rich man with a bald head might swoop in and save the day.
Even in all its glitter and grit, it’s the cast that keeps the engine running.
Debora Krizak is everything as Miss Hannigan – sloshed, bitter, and chewing the scenery with pure glee. Every time she’s on stage, the energy surges. Anthony Warlow, returning as Daddy Warbucks, is just as strong. Stoic and commanding with that unmistakable vocal prowess, he brings depth to a character who could easily tip into caricature. Mackenzie Dunn shines as Lily St. Regis, a triple-threat stand-out who struts across the stage with ditzy perfection. And Keanu Gonzalez brings charisma to Rooster, with sharp dancing and slick vocals, even if the Aussie accent sneaks through now and then.
Amanda Lea LaVergne, a Broadway import making her Australian debut as Grace Farrell, fits into the role with ease. She’s polished, poised, and vocally on point.
Image © Daniel Boud
Musically, 'Easy Street' is the stand-out. It’s tight, electric, and full of cheeky menace. The orphans, led by a strong and likeable Annie, bring charm and confidence. There’s a real sense that some of these kids have bright futures ahead – and they know it.
The first act is where the magic really sits. It’s vibrant, tightly paced, and leaves you wanting more. The second act, while still solid, doesn’t hit quite as hard. And that’s where questions start to creep in: why this production now?
In 2025, a re-staging of 'Annie' can’t just be pretty. It needs to resonate. This version hits all the familiar beats – Sandy the dog nails every cue, the vocals are strong, the heart is there – but the story feels stuck in the past. The message that happiness comes in the form of a billionaire’s signature doesn’t land the way it once might have. And the lack of visible diversity in the cast, especially in a room full of young, eager audiences, is a glaring miss.
Still, the audience loved it. After the show, I bumped into 1978’s original Aussie Annie, Sally Bourne, outside the theatre. She was beaming and said she really enjoyed it. Clearly, this story still stirs something.
'Annie' may be a relic, but this production doesn’t treat it like one. It’s big, brassy, and full of sparkle. But maybe next time, we reach for something more – not just in size, but in meaning.
