Catherine Bennett resumes the weekly look at the performing arts world, with the sad end of Jerusalem, the luck of a cabbie, and French revolt. Do you hear the people sing?
Adam Alcock reviews Nigel Kennedy playing Vivaldi's Four Seasons and his own Four Elements at York Opera House.
Catherine Bennett highlights the trends in the performing arts world today.
Jonathan Cridford reviews 'Ghosts', one of the Freshers' plays for this year.
As a child there was only one thing I wanted but never got – a video of the 1982 film version of Annie starring Aileen Quinn. From the first moment we watched it as a Christmas treat in my music class in 1998 I fell in love with the story, the songs, the characters and the heart-warming charm of it all. I longed to watch it again but only caught glimpses of it when it was shown on television and finally had to make do with a recorded video of the less-than-impressive 1999 TV version which, though it sated my thirst for the songs, never held much of the charm – Annie wasn’t even ginger.
As you can imagine, I jumped at the chance to see the stage musical at the West Yorkshire Playhouse and it did not disappoint. Directed by Nikolai Foster, it is the first new version of the show in ten years – this is understandable as the stage production, much more than the film, is deeply entrenched in 1930’s American politics and FDR’s promise of a ‘New Deal’ which can often seem secondary to Annie’s story. However, Foster believes that the musical’s discussion of the Great Depression is now entirely suitable for a British audience in our current economic climate. Perhaps this is true, but it was not entirely evident. Nevertheless, Foster manages to provide a thoroughly enjoyable evening which is a perfect alternative to the traditional Christmas pantomime.
It is evident that Annie has an enormous budget behind it and it uses it to its full potential. The costumes and sets are lavish and incredibly detailed. The sheer size of the cast is very impressive at around forty, supported by a very talented multi-instrumental band of seven. At the heart of this enormous production is of course, Annie, played on press night by eleven-year-old Sophie Downham. Not only has Downham got an outstandingly versatile and powerful voice for such a young child but she also brings a great amount of heart and maturity to her performance. However, I would have liked to have seen a more brash and edgy portrayal of the character in the opening scenes to create a distinction between Annie and the other orphans at Miss Hannigan’s orphanage. Nevertheless, Downham is instantly likeable and commands a strong presence onstage even when playing alongside far older and more experienced actors.
A usual criticism of mine when reviewing musicals is the way in which the songs are often given precedence over the narrative or acting. This is not the case in Annie, where the songs fit seamlessly into the performance and are never overdone. Although having said this, the choreography and sheer spectacle of the musical numbers are well worth the ticket price alone. Both ensembles (adult and junior) are proficient in song and dance but also manage to bring an overwhelming sense of character to their performances, creating a sense of unity and individuality in equal balance which stops the songs from becoming simply two-dimensional.
Sarah Ingram who plays the pessimistic drunkard owner of the orphanage, Miss Hannigan, puts in a marvellously impressive performance and excels in all areas – singing, dancing and acting. She gives the perfect amount of threat but balances it superbly with slapstick humour assuring that any scene she is in instantly becomes magnetic. Duncan Preston as billionaire Oliver Warbucks unfortunately fails to do so well, and often it feels like he has been cast on the basis of his celebrity rather than proficiency. In his opening scene he does not provide enough threat and often seems to be rather too pleasant to be such a tyrant in business. This also means that his eventual warming up to Annie leaves the audience less than satisfied at his supposed change of heart. Nevertheless, he still has some lovely moments onstage with the orphan and also performs his songs with real, touching sincerity.
Annie will certainly be an enjoyable night out, even for those purists who are faithful to the film. It is a very grand production which rarely fails to make you smile and is perfect for children over the Christmas season.
Annie is showing at West Yorkshire Playhouse in Leeds until 21st January.
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