Some artistic works are both timeless and very much of their time.
That’s the case with “Annie,” a massive hit musical that was already a cultural touchstone before it even existed. Drawing from more than half a century of source material in the form of comics, radio programs and movies, the 1976 musical is one of the most-produced in the modern canon — so much so that it has the distinction of being the first show with two productions to get reviews from me.
The current iteration is by Pittsburgh Musical Theater and will run at the Byham Theater in Downtown Pittsburgh through March 1. Thankfully, the somewhat overdone show finds new sparkle in the hands of a capable and charming cast.
The story of “Annie” obviously parallels the story of America in the Great Depression. We meet the titular character (Aubree Liscotti), a spunky 11-year-old, at a New York City orphanage where she hopes that her parents will return to take her home soon. Unfortunately, she and the other girls are under the care of the cruel — but entertaining — Miss Hannigan (Connor McCanlus).
Annie runs away, crossing paths with a dog named Sandy (real name Mochi and just a really good pupper) and ending up at one of the Depression’s “Hooverville” makeshift camps. After the police return her to the orphanage, she’s present when Grace Farrell (Caroline Nicolian), the personal secretary of mega-billionaire Oliver Warbucks (Allan Snyder) shows up in search of an orphan to stay with Mr. Warbucks over the Christmas holiday.
Grace takes Annie to Warbucks’ palatial Fifth Avenue estate where the rough-around-the-edges rich guy and the ever-optimistic orphan immediately get along famously. So famously that after a week, Warbucks wants to make it official and adopt Annie. But she wants to find her real parents instead — a request that Warbucks sadly promises to make a reality.
After hearing that Warbucks is offering a hefty reward to Annie’s real parents, Mss Hannigan — along with her con man brother, Rooster (Isaac Miller) and his girlfriend, Lily St. Regis (Allie Burns) — hatch a scheme to get the cash.
Don’t worry, folks, Annie has the power of a billionaire, J. Edgar Hoover’s FBI and Franklin D. Roosevelt in her corner. This one’s got a happy ending.
While “Annie” can often feel schlocky, with the character in Liscotti’s hands there’s a genuine charm that keeps even classic songs like “Tomorrow” away from being cloying. She does bring a sunny shine to the stage. All of the kids do an amazing job, in fact. Note that PMT has double-cast all of the child roles, including the lead.
The trio of McCanlus, Miller and Burns absolutely nailed the fan-favorite villain tune “Easy Street” and brought nonstop laughs with their interactions. The role of Miss Hannigan is a dream come true for any comedic actor, and McCanlus’s brassy, dry portrayal works perfectly.
On the other end of the spectrum is Snyder as Warbucks. Usually the tyconn is played as gruff and hard-edged at the start of the show, but Snyder is a little softer and more personable from his first scene. This works, actually — it makes the character easier to root for and enhances the fatherly chemistry between Warbucks and Annie.
But the show’s two standouts are in surprising roles: Daniel Krell kills it as FDR, lending just enough winking delivery to the historical references heavily sprinkled into his scenes and drawing lots of laughs; and Connor Bahr as Drake, one of Warbucks’ servants, whose physical comedy is on-point and so endearing.
“Annie” may be an often-produced show, but it’s not necessarily an easy one — after all, it does contain both kids and a dog. It has a large ensemble cast, lots of musical numbers and a whirlwind of different scenes. Director Quinn Patrick Shannon had a clear vision for the show and is economical with the talent and the Byham’s space, and music director Dr. Francesca Tortorello leads a great group of musicians through the swelling score.
Scenic designer Jonathan T. Sage and sound designr Eric Collins did an especially great job of bringing the streets of New York City to life, and lighting designer Todd Nonn showed stark contrast between the bleak early scenes and the warm, vibrant later moments of the show. And talk about contrast — Jeremy Eiben’s costumes ranged from the dingy outfits of the orphans to the colorful, spiffy dresses worn by Annie after her introduction to Warbucks.
Even if it’s a show whose songs generations of kids know by heart, not all productions of “Annie” are created equal. It’s up to the cast, the musicians and the director to take such a classic show and make it their own. In this, Pittsburgh Musical Theater has succeeded.
Pittsburgh Musical Theater’s “Annie” will run through March 1 at the Byham Theater in Downtown Pittsburgh. To get tickets, visit pittsburghmusicals.com.