Annie
ABC (Disney) - Nov. 7, 1999
Review by John Kenrick
I have to confess that I am a sucker for Annie – have been ever since
seeing a preview performance at the Alvin Theatre back in 1976. A good performance
of this tuner always leaves me a giddy, sentimental mess. Like most
Annie fans, I deplored the big screen version, which cast aside or trampled
practically everything that makes the show work. The recent Broadway revival was
another big disappointment thanks to woeful miscasting and an ugly physical
production. The original stage version of Annie was so special to me
(and to millions of others) that it breaks my heart when people are subjected to
lesser versions of it. So I approached the new TV version with the skepticism of
one who has all too often been burned. Besides, this was the same team of producers who
responsible for the recent woeful TV remake of Cinderella.
What a delight to find myself once again swept up in Annie's warm and
hopelessly illogical combination of sentiment and hilarity. By the time the broadcast
was over, I was beaming and cheering just as helplessly as I did for the original
stage show twenty-three years ago. Yes, the Disney team removed some fine songs and
scenes from the script, but the spirit of the show was intact.
Disney had the good sense to use people with solid Broadway
credentials. Director Rob Marshall (the Tony-nominated choreographer of
the recent revivals of She Loves Me and Damn Yankees) did a great
job, keeping the laughs and tears in healthy proportion. The physical production
was lavish without being obtrusive, with some excellent period New York settings,
and the cinematography was attractive throughout.
As Miss Hannigan, the brilliant Kathy Bates proved herself a more
than capable singer and dancer. Only occasionally over the top,
(which is perfectly appropriate for this role) she made this a surprisingly strong
musical debut. Since most of her co-stars were seasoned musical theatre
pros, their expert performances were far from surprising but delightful all the same.
Victor Garber's Oliver Warbucks made the transition from cold businessman to loving
foster "Daddy" with ease, and Audra McDonald was superb as
secretary Grace Farrell. This new version had them engaged by the finale - an interracial
coupling that would have been unlikely in 1939, and I expect it rattled a few closed minds
in 1999 too. Newcomer Alicia Morton was unaffected and charming in the
title role, with a solid singing voice as well - qualities the girl in the last Broadway
revival sadly lacked. Ms. Morton's furry co-star was pleasantly cuddly, but he was no
match for Broadway's original Sandy - a performance I have never seen even remotely
matched.
Recent Tony winners Alan Cumming (Cabaret)
and Kristin Chenoweth (You're a Good Man Charlie Brown) were
perfect as Rooster and Lilly, milking every scene-stealing moment.
I was delighted to see Andrea McArdle
give a socko rendition of "NYC" as The Star To Be. The original Annie still has
the voice and star quality that make her one of the last of that dying breed - a genuine
Broadway musical star. The original "Star To Be," the late Laurie Beechman,
would have been very proud of her onetime costar. On the down side, the orphans were
kept in overdrive for every scene, making them obnoxious rather than charming -
perhaps the one serious directorial misfire in this production.
The broadcast included an ad for Gepetto,
Disney's first original TV musical. Set for a broadcast debut in the Spring of 2000,
I can only hope it holds to the high standards set by this delicious production of
Annie. While nothing will ever erase or eclipse my memories of the
original Broadway cast, this was an Annie to treasure.
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