Oh My Goodness — Steven Tenney reviews “Annie”
“LeCee Galmiche Johnson’s brilliant and mesmerizing production of Annie played to seven sold-out houses April 13th – 17th at the Wings Theatre in lower Manhattan. This deeply and meticulously conceived show, imbued with the electricity of childhood, thrilled audiences with a non-stop succession of ravishing numbers, star turns, and wondrous dramatic portrayals.
Annie takes us from the desperation of an orphanage to the streets of New York, from a billionaire’s mansion to a President’s Cabinet meeting. Her story is of the inestimable loss of a parent, and the hopeful resiliency of youth. But, like the softly flashing lights of its Roxy marquee, this particular production ushered us into these realms with all the luminous mystery of childhood itself. Children playing children, children imitating adults, children imitating children playing adults all radiated an ineffable, magically layered effect. Time and again the audience was spellbound by this cast’s acting, singing, dancing, and – sheer magnetism.
An army of adults, working behind the scenes for months, created the scaffolding for this panoply of performances. And the triumph of the show was not only artistic but logistic: No auditioning actor was turned away. Through sheer dramatic inventiveness and organizational skill, corps of orphans were expanded and doubled, major parts double- and triple-cast, and choruses added. At the same time, many actors appeared in multiple roles for each performance. The result was a gem, iridescent with talent, that turned slowly through the week to display its complex facets. And all set against a gorgeous matrix of costume and scene design, staging and lighting. I saw it four times, for the pure joy of it. But any less and I would have missed someone somewhere — something I am sure to do in summarizing this magnificent achievement.
In an ingenious stroke, Annie and Daddy Warbucks were played by real-life daughter-father pairs, who were enormously engaging in these roles, carrying the show with great aplomb.
[Unfortunately, the part of the review which was in this very spot (originally printed in a newsletter distributed to parents) went into great detail describing the performances of the children by name and for reasons of child protection were removed from this online version of the review.]
It would be impossible to overpraise the musical direction of Dan Radzikowski, whose invaluable work was everywhere evident – from lovely solos and duets, to intricate trios and sumptuous, stunning choral numbers. His live piano accompaniment, with drummer Sarah Schiff and trumpeter Norman Schiff, was impeccable. Janet Mervin, assisted by Carol Bues, and Carol Cote, who focused on orphans, created a vast array of costumes – costumes that were beautiful in sophisticated ways, custom tailored, exactly right for their dramatic characters, and wonderfully integrated with the color palette of the show as a whole. Tony Schlein’s scene design artfully evoked both period and locale at the same time as it conjured a child’s view of the surroundings. The show was expertly lit by Paul Jones. The always adept, and often stellar, choreography was due to LeCee Galmiche Johnson and Ben Watts.
A myriad others contributed indispensably to Annie, including associate producer Ellen Labiner, stage manager Korrina Cragnotti, production stage manager and chief wrangler Rhonda Asher, box office manager Kaye McFarland and, responsible for the truly sumptuous concessions, Madeline Jaye with many contributions from Janet Farrell.
But none of this would have happened if not for LeCee. Thanks to her inspired direction and patient leadership – thanks to her initiative and vision – this vast project awakened. Annie came to life and glowed before its audience. It is sure to live as a nurturing memory – just as Annie’s locket – for countless children and adults. Sitting one night as the overture played, I glanced across at the line of waifs swaying in darkness at the back of the theater, moving in rhythm to the music. These were not just actors waiting to go on – but sylphs invisibly, excitedly wrapped in the cloak of art. As one of them would soon exclaim on-stage, in a line reading whose perfection cannot be described: Oh my goodness, oh my goodness!”
— Steven Tenney
(Steven Tenney has for many years taught math in both the home-schooled and schooled communities. In his spare time, he writes plays himself.)