Annie at TCR? Of course, it's good!

by Sharon Falduto

To be honest, I almost feel guilty writing a review of this show. I feel as though I could write “It was Annie at TCR! Of course it’s going to be good!”

But Spartan reviews are not what draws you back to the Iowa Theatre Blog. You want to know if this particular Annie will measure up to your childhood memories. Will it leave you singing? Yes, it will. Will it restore your faith that prosperity is just around the corner, even in these hard economic times? I hope so.

First of all, kudos to the cast of orphans. I would love to single out each and every one of them to mention and praise, but unfortunately, the book of the musical doesn’t individuate. I read the program at intermission and said to myself, “Huh, her name is July? Okay.” But each little girl in the show is a wonderful performer. Every one is given a chance to shine, with either a solo or a group performance, and each one makes her mama proud.

The girls begin the show piled on top of two bunk beds for, if my count is correct, 14 orphans; the 15th, Annie, appears later. They are hanging off the top, tucked underneath, and two to four abreast on the beds. Their dingy pinafores and sullen countenances put us immediately in the Depression-depressed frame of mind of the NYC girls’ orphanage.

Alexandra AbouAssaly as Molly, the tiniest girl of the group, does a wonderful job. Her bio indicates that she is in third grade, but she has the stature of a five year-old, with the stage presence and self possession of a 21 year-old theatre school graduate.

Jennifer Boettger is Miss Hannigan, the villain of the show. I’m torn between thinking her portrayal of Miss Hannigan as channeled through Carol Burnett is just perfect, and wishing she had given the role her own spin. I’ll let you, as the viewer decide. Regardless, she’s such a fun character to watch and play, it hardly matters.

The opening night performance only had one non dog-related misstep (more on that in a moment), which is when the adult chorus missed its opening notes on their “Herbert Hoover” song. I noted to myself at the time, “Kids know the score better than grownups!” But every other song, sung by child or adult, was perfectly on time and in key. Each crowd scene bustled with energy and chaos when needed, and settled into balance and lines when it was called for. Each time I would start to think my sight line was obstructed, someone would shift, and all would be well again.

The dog-related misstep was more humorous fodder for the adults in the audience than a true detriment to the show. Annie reached into her pocket a bit before calling to Sandy, and Sandy trotted on over before even hearing his name. I’m sure working with a canine adds an element of the unexpected to each night’s performance.

Every song in this show is iconic and memorable, although I did question the necessity of some of Daddy Warbucks’ ballads, especially as the show entered its second hour and some patrons, such as the young man behind me, fell asleep on Daddy’s lap. I’d hate to lose the songs, though, because Jonathon P. Swenson — a man so dedicated to his role that he shaved his head — is such a wonderful, melodious singer. It almost made me forgive him for being a Republican, to paraphrase Mr. Warbucks himself.

Ryan Folzey’s Rooster and Emily Nelson’s Lily St. Regis are delightful swindlers. He is crookeder than Snake Alley and she is dumber than a post, but they put on a beautiful Charleston with Miss Hannigan when they plan to pull a scam on Warbucks and get rid of Annie in the process. Heather Akers as Grace, Mr. Warbucks’ personal secretary, is calm and appealing throughout the show, a well cast choice for the role.

The show has some notables cameos of chorus members. Oscar Richie IV first appears as Mr. Bundles in a jovial but non-singing role, and then reappears in Act II as Bert Healy, on whose radio show Annie appears to ask to find her parents. Bert and The Lovely Boylan Sisters give us the dynamic opening song of Act II, “You’re Never Fully Dressed Without a Smile,” which takes us back to the orphanage where we check in with the girls as they put on their own Bert Healy radio show. Gene Whiteman may not look the part of FDR, exactly, but close your eyes and you hear FDR giving a fireside chat whenever Gene speaks.

And then, of course, there’s Annie. Michelle Lindhart has a big, open, smiling face and a big, powerful, wonderful voice to go with it. She hits each note with clarity and tone, and she embodies Annie’s impish spirit throughout. The score of Annie is not an easy one for anyone, but no notes seemed strained under her angelic voice.

Review from my five year-old co-reviewer, Sammi Falduto: “I really liked two songs. ‘The Sun Will Come Out’ and ‘Hard Knock Life.’ I didn’t like Miss Hannigan.”

So, will it leave you singing? Of course it will. It will even, in the case of one particular five year-old girl, leave you muttering “The sun’ll come out…” as you drift off to sleep after Mommy carries you in from the car and puts you to bed after the show.


Sharon Falduto has been involved with theatre for many years. Notable roles include Corrie in Barefoot in the Park with Dreamwell and Myra in Hay Fever with ICCT. She has directed God for the now defunct student group, West Side Players, and Of Mice and Men for Dreamwell. She is currently out of the theatre scene, as she is busy directing the lives of Rachel, Samantha, and Piper at her home in Coralville. She still enjoys the stage, however, and hopes to trod the boards again in the future.