Review: Dinner Theatre's 'Annie' just sweet enough
Saturday, July 19, 2003
By NANCY STETSON
Use too little sugar, and a dessert can be bland. Use too much, and it's overkill, too sickeningly sweet.
The same can be said for musicals.
Thankfully, for the most part, "Annie," now playing at the Naples Dinner Theatre through Aug. 17, uses just the right amount of sweetness.
In inept hands, this musical based on the comic strip character Little Orphan Annie could be too cute and cloying, but under Michael Wainstein's capable direction, this show steers clear of those traps.
Kylie Shirakawa plays Annie with aplomb; she has great stage presence for someone so young. (Rebecca Orts of Seattle plays Annie at the matinee shows.) The 11-year-old is perfect as the spunky girl searching for her parents who dropped her off at the orphanage so many years ago.
To portray the lead character in a musical is a big responsibility for anyone, but especially for a child. But Shirakawa handles it well. You have no problem believing she's Annie.
And when she sings "Tomorrow," her optimism is infectious. She seems to truly believe that things will get better tomorrow, which is "only a day away." (Though the lyrics seem to temper that optimism a bit, because sometimes the chorus says that "tomorrow/ is always a day away," implying that although good times may be just around the corner, you may never get to see them.)
The musical is set during the Great Depression. People are homeless, living in Hoovervilles, trying to scrape by.
Like a classic fairy tale, this musical doesn't sugarcoat the hard facts of how life can be, with parents who abandon you, loved ones who die, and people in authority who browbeat you and abuse you.
As the orphans sing —and experience firsthand — "it's a hard-knock life."
But their interpretation of that philosophy is fun, as they dance around with mops and sing "Hard Knock Life."
Slugger, a miniature schnauzer who portrays Sandy the dog, steals scenes every time he's on stage. It doesn't seem to matter that he's not exactly sandy-colored, or orange like Sandy in the comic strip (or like Annie's hair).
This is an endearing musical that tugs at the heartstrings like a Hallmark commercial.
No wonder it was the third longest-running musical of the '70s and nominated for 10 Tonys. (It won seven, including Best Musical and Best Score.)
But there are plenty of laughs. At one point, Miss Hannigan, who runs the orphanage, barks out, "Did I hear happiness in here?" Then there's the comment, "Yes, I know he's a Democrat, but he's a human being too," which got big laughs. And my favorite: "After New York, every place else is Fort Myers."
Once again, Michael McCabe and Jodi Lynne Sylvester play against each other; this time as Daddy Warbucks and his assistant Grace. Just a couple weeks ago, they were performing as the Sheriff and Miss Mona in "The Best Little Whorehouse in Texas."
McCabe is a benevolent Warbucks, taken with this child who comes into his life, mystified by her. And Sylvester perfectly embodies her character's name, playing her with elegance and sophistication. She's the model of efficiency and compassion.
Henrique Ramos and Jenny Lee Stern as small-time crook Rooster and his sleazy girlfriend Lily St. Regis liven things up during their scenes.
But it's Debi Guthery as Miss Hannigan, the head of the orphanage, who commands attention every time she's on stage. Under Wainstein's direction, her comedic talents shine as she drunkenly weaves, kicks up her heels in dance, belts out a song, yells at the orphans and bemoans her life.
"Annie" is a musical comedy, and very cartoon-y; it would be easy to portray Miss Hannigan with only broad, comedic strokes, but Guthery adds the little details too, making her a person, not a caricature. Guthery is mesmerizing during her solo "Little Girls," and singing and dancing with Ramos and Stern in "Easy Street."
The ensemble numbers of this musical are highlights too, whether it's the cast as homeless people singing "Hooverville," as New Yorkers singing an ode to their city in "NYC," or as Warbucks' maids and butlers singing "You Won't Be An Orphan For Long" and "Annie."
This cast hits just the right tone with each number.
Special mention must be made of Jenn Furman, who after belting out a verse in "NYC," received enthusiastic spontaneous applause from the audience, even though the song wasn't finished. Furman has a gift, and I wouldn't be surprised to see her perform on Broadway in the future.
Jason Bolen did a great job with the scenery, especially the whimsical cartoonlike backdrop of the New York skyline. And, there was good use of the stage's turntable during "NYC." While the cast walked on the rotating stage, scenery of various buildings moved across the stage.
"Annie" is a fun, entertaining show that's suitable for kids and grandkids too. And adults shouldn't find it too overly sweet. The only way you'll get a sugar overload is if you return to the dessert table prior to the show one too many times.
Saturday, July 19, 2003
By NANCY STETSON
Use too little sugar, and a dessert can be bland. Use too much, and it's overkill, too sickeningly sweet.
The same can be said for musicals.
Thankfully, for the most part, "Annie," now playing at the Naples Dinner Theatre through Aug. 17, uses just the right amount of sweetness.
In inept hands, this musical based on the comic strip character Little Orphan Annie could be too cute and cloying, but under Michael Wainstein's capable direction, this show steers clear of those traps.
Kylie Shirakawa plays Annie with aplomb; she has great stage presence for someone so young. (Rebecca Orts of Seattle plays Annie at the matinee shows.) The 11-year-old is perfect as the spunky girl searching for her parents who dropped her off at the orphanage so many years ago.
To portray the lead character in a musical is a big responsibility for anyone, but especially for a child. But Shirakawa handles it well. You have no problem believing she's Annie.
And when she sings "Tomorrow," her optimism is infectious. She seems to truly believe that things will get better tomorrow, which is "only a day away." (Though the lyrics seem to temper that optimism a bit, because sometimes the chorus says that "tomorrow/ is always a day away," implying that although good times may be just around the corner, you may never get to see them.)
The musical is set during the Great Depression. People are homeless, living in Hoovervilles, trying to scrape by.
Like a classic fairy tale, this musical doesn't sugarcoat the hard facts of how life can be, with parents who abandon you, loved ones who die, and people in authority who browbeat you and abuse you.
As the orphans sing —and experience firsthand — "it's a hard-knock life."
But their interpretation of that philosophy is fun, as they dance around with mops and sing "Hard Knock Life."
Slugger, a miniature schnauzer who portrays Sandy the dog, steals scenes every time he's on stage. It doesn't seem to matter that he's not exactly sandy-colored, or orange like Sandy in the comic strip (or like Annie's hair).
This is an endearing musical that tugs at the heartstrings like a Hallmark commercial.
No wonder it was the third longest-running musical of the '70s and nominated for 10 Tonys. (It won seven, including Best Musical and Best Score.)
But there are plenty of laughs. At one point, Miss Hannigan, who runs the orphanage, barks out, "Did I hear happiness in here?" Then there's the comment, "Yes, I know he's a Democrat, but he's a human being too," which got big laughs. And my favorite: "After New York, every place else is Fort Myers."
Once again, Michael McCabe and Jodi Lynne Sylvester play against each other; this time as Daddy Warbucks and his assistant Grace. Just a couple weeks ago, they were performing as the Sheriff and Miss Mona in "The Best Little Whorehouse in Texas."
McCabe is a benevolent Warbucks, taken with this child who comes into his life, mystified by her. And Sylvester perfectly embodies her character's name, playing her with elegance and sophistication. She's the model of efficiency and compassion.
Henrique Ramos and Jenny Lee Stern as small-time crook Rooster and his sleazy girlfriend Lily St. Regis liven things up during their scenes.
But it's Debi Guthery as Miss Hannigan, the head of the orphanage, who commands attention every time she's on stage. Under Wainstein's direction, her comedic talents shine as she drunkenly weaves, kicks up her heels in dance, belts out a song, yells at the orphans and bemoans her life.
"Annie" is a musical comedy, and very cartoon-y; it would be easy to portray Miss Hannigan with only broad, comedic strokes, but Guthery adds the little details too, making her a person, not a caricature. Guthery is mesmerizing during her solo "Little Girls," and singing and dancing with Ramos and Stern in "Easy Street."
The ensemble numbers of this musical are highlights too, whether it's the cast as homeless people singing "Hooverville," as New Yorkers singing an ode to their city in "NYC," or as Warbucks' maids and butlers singing "You Won't Be An Orphan For Long" and "Annie."
This cast hits just the right tone with each number.
Special mention must be made of Jenn Furman, who after belting out a verse in "NYC," received enthusiastic spontaneous applause from the audience, even though the song wasn't finished. Furman has a gift, and I wouldn't be surprised to see her perform on Broadway in the future.
Jason Bolen did a great job with the scenery, especially the whimsical cartoonlike backdrop of the New York skyline. And, there was good use of the stage's turntable during "NYC." While the cast walked on the rotating stage, scenery of various buildings moved across the stage.
"Annie" is a fun, entertaining show that's suitable for kids and grandkids too. And adults shouldn't find it too overly sweet. The only way you'll get a sugar overload is if you return to the dessert table prior to the show one too many times.