Lovingly revived, evergreen musical comedy Annie shines anew to bring the joy of musical theatre to a new generation of family audiences. 

It’s 1933 and there’s a billionaire in the White House; thankfully, in this case, he is not the President. Wealthy industrialist Oliver Warbucks opens his Fifth Avenue mansion to an orphan for Christmas and soon opens his heart as well, with the entire household falling for plucky little orphan Annie and her unflinching positivity. With millions out of work, the rebuilding of America’s fortunes falls to President Roosevelt, newly inspired by Annie’s steadfast belief that the sun’ll come out “Tomorrow.”

In the second return season for this handsome 2000 production, the glowing optimism of Annie once again proves well timed for its enduring message of hope and resilience. An additional attraction of the timing of this new season is the very welcome opportunity it brings to enjoy a large scale musical that was written in the style of Broadway’s Golden Age. Book writer Thomas Meehan imbued the relatively simple story with delightful comedy and affecting pathos, while the music of Charles Strouse and lyrics of Martin Charnin provide an eminently hummable set of toe- tapping songs. 

Given that the highly appealing, scene-stealing presence of singing and dancing orphans and a totally adorable dog would be enough to sell thousands of tickets, it is impressive to see the care and attention that has been invested into the pristine adult cast. Karen Johnson Mortimer returns as director, imbuing the characters with a warm humanity well beyond the simple comicstrip origins of the original scenario. 

Emerging choreographer Mitchell Woodcock delivers all-new choreography that is notable not just for its crisp, sharp performance but also for its clear respect for the period setting. Additionally, Woodcock ensures that all dance derives organically from the story and is firmly focused on conveying character. Woodcock’s excellent choreography and the terrific performances of the triple threat cast make dance a clear feature of this production. 

Retaining the 2000 production’s grand scenery by Kenneth Foy and delectable costumes by Kristian Fredrikson, the production is further enhanced for this new season with dazzling projection design by Craig Wilkinson. The overture accompanies sweeping animated views of New York City, with scenic transitions throughout the show covered by further attractive animation, adding a significant degree of context to the story’s 1930s setting. Gavan Swift’s lighting design is sympathetic to the use of projections and adds to the old world feel of the very traditional staging. 

Musical director David Piper conducts a generously sized orchestra of 15 musicians. The expertly balanced sound design of Michael Waters delivers a warmly immersive feel to the musical performance.

On the Melbourne opening night, Isabella Hayden showed supreme confidence in the title role, neatly balancing Annie’s strident sense of self with her underlying vulnerability. Her vocal pitch placed firmly in the middle of each note, Hayden sang the role in charming style. Hayden shares the role of Annie with Dakota Chanel and Lilith McIntosh.

Each of the seven orphan roles is triple cast, proving the ready depth of local talent. On opening night, Sophie Isaac (Duffy), Ava Kroussoratis (Tessie), Harper Pasco (Pepper), Marli Lee (Kate), Bibiana Brudan (Molly), Calliope Xintavelonis (July), and Leah Cooper (Friday) sang and danced with fabulous gusto, deservedly earning extended rousing applause for featured numbers “It’s the Hard Knock Life” and the reprise of “You’re Never Fully Dressed Without a Smile.”

Australia’s foremost leading man Anthony Warlow returns to the role of Oliver “Daddy” Warbucks, having played a season on Broadway since the 2012 revival of Annie. In rich, mellifluous voice, Warlow deftly balances the gravitas of the role with expertly judged comedy. 

Debora Krizak delights as hapless orphanage matron Miss Hannigan, who totters about in a perpetual state of gentle inebriation. A skilled dancer, Krizak backs up her sharp comic timing with a wonderfully physicalised performance.

With this production dedicated to the memory of the original 1978 Australian production of Annie, it is worth noting that Trudy Dunn, daughter of original Miss Hannigan portrayer Jill Perryman, serves as resident director and her daughter, Mackenzie Dunn, plays Lily St. Regis. Mackenzie Dunn is joined by her recent Grease co-star Keanu Gonzalez (as Rooster Hannigan) to make another dazzling pairing. Sensational triple threats Dunn and Gonzalez burn up the stage with Krizak in “Easy Street,” leaving the audience hungry for more.  

Amanda Lea Lavergne brings a gentle presence to Warbucks’ faithful secretary Grace Farrell. Greg Page moves on from his “Yellow Wiggle” fame with a neatly understated performance as noble President Roosevelt. 

Something of an embarrassment of riches, the adult cast is nothing short of faultless, contributing invaluable quality to the production. Just a few standouts include the luminous Lisa Sontag as devoted housekeeper Mrs Pugh and others, Tom New as a sprightly head butler Drake, and chameleonic Dean Vince as Irish Lt. Ward and others. Nakita Clarke makes her mark in the featured cameo of Star-To-Be in company number “N.Y.C.” and special mention goes to Sebastian Johnston for his hilarious, all-too-brief physical comedy as the US Marine. 

While it is easy to be cynical about the return of a well worn favourite like Annie, the quality of production and performances here commands due attention. Hard indeed is the heart not warmed by children and animals on stage, and this revival of Annie is a heart warming winner set to delight to all who attend. 

Annie plays at Princess Theatre, Melbourne until 26 October 2025. For tickets, click here.

Annie plays at Lyric Theatre, QPAC from 27 December 2025. For tickets, click here.

Photos: Daniel Boud (Sydney 2025 season)