Capitol Theatre, Sydney.
3 April 2025.
The sun came out in Sydney last night as Annie the Musical opened at the Capitol Theatre, delivering a bright and buoyant evening full of nostalgic charm, energetic performances, and the unmistakable magic of musical theatre.
Leading the cast was young Dakota Chanel in the title role, whose cuteness and charisma immediately won over the crowd. While she was a little pitchy in her opening song to begin with, Chanel settled into the role as the night progressed, showing real stage presence and admirable professionalism – especially in her handling of Sandy, the canine co-star, who had their own moments of stealing the show with unscripted humourous doggy-ness.
The orphan ensemble brought infectious energy to the stage with every entrance, their comedic timing and animated performances earning plenty of laughs and uproarious applause. While a touch over-the-top at times (feeling somewhat more eisteddfod-like than authentic), they were undeniably engaging. Ellie Lang as Molly was particularly endearing, stealing several scenes with her sweetness, and Camille Nko’o’s Duffy showed her stunning vocal talent in her one solo line, which would have been lovely to hear more of.
A true highlight of the night was the return of musical theatre icon Anthony Warlow as Daddy Warbucks. Warlow’s voice remains as rich and commanding as ever, and his stage presence is simply unmatched. His connection with the cast, particularly Chanel’s Annie, was heartfelt and grounded, bringing emotional depth to the production.
Debora Krizak was a comedic force as the boozy Miss Hannigan, drawing huge laughs with her sharp timing and expressive physicality. She was well matched by Mackenzie Dunn and Keanu Gonzalez as Lily St. Regis and Rooster Hannigan – the trio’s “Easy Street” was a standout, full of character-driven choreography, humour and chemistry.
Amanda Lea LaVergne brought a graceful strength to Grace Farrell, while original Wiggle Greg Page popped up as FDR – a delightful Easter egg for longtime fans.
The adult ensemble dazzled vocally and brought a stylish flair to the show’s late 1920s setting. Their crisp performances added polish and pace to group numbers, even when the choreography fell a little flat and stuff.
Under Karen Johnson Mortimer’s direction, the show moved at a brisk clip, keeping young audiences engaged and snappy scenes ad minimal downtime. However, this pacing came at the expense of some of the story’s social context. Annie has always carried undertones of Depression-era hardship that gave the musical’s optimism real weight, but these were glossed over in favour of light-hearted comedy.
Mitchell Woodcock’s choreography had moments of brilliance – particularly in the final number, “A New Deal for Christmas” and the bustling “NYC” – but was uneven overall. While “It’s a Hard Knock Life” was rhythmic ad catchy, it felt tonally disconnected from the rest of the show, more pop than period. The earlier dance numbers lacked the full-stage sweep one expects from a classic Broadway musical, although they gradually found their footing as the show progressed.
Kristian Fredrikson’s costume design was a triumph. With a clear eye for movement and texture, his experience in dance costume design shone through. The earthy, layered orphan costumes captured the grit of their world, while the polished looks of the upper-class characters created striking visual contrasts.
Ultimately, this Annie shines most brightly in its performances – anchored by Warlow’s gravitas and the youthful exuberance of its leading lady and ensemble. While some of the creative choices felt like a modernisation misstep, there’s no denying the shows heart, humour and timeless appeal. For theatre fans young and old, this production offers enough charm to make the sun come out – at least ‘til tomorrow.
By Linda Badger of Dance Informa.
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