The new production of the smash 1977 musical was directed by James Lapine and starred Katie Finneran as Miss Hannigan, Australian star Anthony Warlow making his Broadway debut as Daddy Warbucks and 11-year-old Lilla Crawford as the moppet herself. Playing her trusty mutt Sandy was Sunny. Another Sandy, the hurricane, did not delay the opening of this revival, but it did knock out a few previews.
The Times noted the timing. In 1977, New York City wasn't doing so well. Thirty-five years later, we're reeling again, not just from Sandy, but from a lingering recession not quite as deep, but somewhat reminiscent, of the economic slough that Annie was slogging through in the 1930s. "In its first incarnation Annie was an unstoppable sunshine steamroller," wrote Ben Brantley of The Grey Lady. "This version, which flirts with shadows, moves more shakily."
Others were similarly pleased, if not overwhelmed. "Hardcore fans may find it lacking in the property's traditional brash vibrancy," said the Hollywood Reporter, "but what makes this revival disarming is that it's cute without being cutesy and sweet without being saccharine." Newsday reported, "For all the freight of timeliness, this remains a sweet spot of a family musical, full of adorable, but not sticky-adorable, waifs punching the air with their teeny fists and belting 'Tomorrow' over and over until every cynic within earshot might be a believer. Director James Lapine's handsome yet lovable vision finds the emotional core without losing the cartoon magic. There is a modesty, a humanity within the spectacle that helps the too-large theatre feel embracing."
|photo by Joan Marcus|
Critics' darling Finneran wasn't as beloved as usual this time around. "If you missed her in her Tony Award-winning turn as a daffy, drunken floozy in Promises, Promises, she reprises it here," quipped the AP. "In fact, she does very little new." However, Newsday countered, "I'll hear no negative words about Katie Finneran, who, unlike her much-admired campier predecessors, makes Miss Hannigan both a cruel clown and a genuinely erotic creature whose thwarted ambitions seem just the slightest bit sad."
Warlow's Warbucks was well thought of. He "ventures into naturalism, inflecting his songs with unexpected emotional variety," said the Times, while the Hollywood Reporter said, "Perhaps the most distinguishing element in this production, however, is Australian musical-theatre and opera veteran Warlow's impressive Broadway debut as Daddy Warbucks."
As for Crawford, the Times called her "pretty close to perfect in the title role." New York magazine offered the best zinger of the day, saying, "Crawford's adorable, of course, and sings flawlessly in that trademark Annie timbre, i.e. somewhere between a spirit-bowl and a bandsaw."
Families were going to come to this show no matter what the critics said. But these notices were probably good enough to push them in the direction of the box office a little bit faster.
Off-Broadway, Checkers, Douglas McGrath's new play about Richard Nixon at a dramatic moment in his political career — the infamous "Checkers" speech, that saved Nixon's young career in 1952 — opened Nov. 8 at Off-Broadway's Vineyard Theatre, following a delay due to Hurricane Sandy. Terry Kinney directed two seasoned theatre actors who now only make rare appearances on the stage: Anthony LaPaglia as Nixon and Kathryn Erbe as his wife, Pat.
The Hollywood Reporter liked the actors but found the play "superficial," saying it "sits uneasily between glib sitcom and earnest character study." The Times wrote, "Though briskly paced and attractively packaged, Checkers often seems to float in stylistic limbo. It can't decide whether it wants to exist in two or three dimensions. Often it's as flat as a comic strip." The Post stated that the drama "offers occasional glimpses into the former president's complicated depths, but doesn't quite add up to an insightful portrait."
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