It’s a hard-knock life no more as Annie the Musical bursts onto the Capitol Theatre stage in Sydney with heart, humour, and a whole lot of hope. The timeless tale of a plucky orphan girl in Depression-era New York, Annie follows the red-headed optimist as she navigates life in an orphanage under the watchful eye of the cantankerous Miss Hannigan. When billionaire Oliver “Daddy” Warbucks invites her to his mansion for the holidays, the unlikely duo form a bond that transforms both their lives. Along the way, Annie evades con artists, charms a president, and reminds us that the sun will come out tomorrow.
Direction by Karen Johnson Mortimer hits every note of what an Annie production should be. There’s sentimentality, yes, but also energy, warmth, and a fast pace that keeps the audience engaged. Mortimer clearly understands that while Annie is a musical with heart, it’s also one with humour and grit—and she gets the balance just right.
Mitchell Woodcock’s choreography is another standout. From the orphans’ scrappy routines to the slick “Easy Street” number, every step feels era-appropriate, polished, and bursting with character. Musical Director David Piper deserves high praise too, keeping the orchestra sounding rich and vibrant throughout. The amplification was clear and well-balanced, enhancing the musicality rather than overpowering it.
Kenneth Foy’s scenic design was solid and serviceable, with effective set pieces that shifted seamlessly from orphanage to mansion to the bustling streets of New York. However, Craig Wilkinson’s use of digital projections detracted from the show’s overall authenticity. While visually interesting, they sometimes pulled the audience out of the 1930s and into something a little too modern for this classic.
On the other hand, Kristian Kredrikson’s costumes were a triumph. Each character’s look helped define their personality and status, from Annie’s tattered orphan dress to Warbucks’ impeccable suits. A particularly thoughtful detail: Miss Hannigan’s first costume subtly echoed the iconic red dress Annie dons in Act 2—a clever nod to the underlying similarities between these two very different women.
The ensemble was tight, dynamic, and almost scene-stealing in the best way possible. Their commitment to storytelling and characterisation helped bring the world of the show to life. Vocally, it was a treat to hear classic musical theatre tones—clear, controlled, and strong—without the modern belting or vocal strain.
Greg Page, the original Yellow Wiggle, made a surprise cameo as Franklin D. Roosevelt, delighting millennial audience members who erupted in cheers. Amanda Lea Lavergne brought warmth and grace to Grace Farrell, while Mackenzie Dunn and Keanu Gonzalez were perfectly cast as the delightfully dodgy Lily St. Regis and Rooster Hannigan. Debora Krizak gave it her all as Miss Hannigan, delivering a hilarious, desperate portrayal that found its full expression in a show-stopping “Easy Street.”
Anthony Warlow reprised his role as Warbucks with elegance and gravitas. His nuanced performance and vocal mastery proved once again that he is Warbucks, full stop.
And at the centre of it all was Dakota Chanel as Annie—a revelation. With pluck, poise, and powerhouse talent, she and the orphans more than held their own, giving the adult cast a run for their money. Annie is bound to bring back happy memories and create new ones for audience young and old.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world trying new gin.
Annie runs for 2 hours 30 mins (with 20 min interval) and plays at The Capitol Theatre through 21 June 2025. Tickets are available through Ticketmaster.
Disclosure: The Plus Ones were guests of IP Publicity.
Image credit: Daniel Boud
