Berkshire on Stage

Multiple Tony Award winning musical, Annie, first on Broadway in 1977 for six years, revived on Broadway in 2012, toured all over the world and probably performed at every theater in this country, delights audiences again at Mac-Haydn Theatre. Annie last appeared at the Mac-Haydn in 2018, and Daddy Warbucks, George Dvorsky recreates his Berkshire Theatre Critics Award Best Actor in a Musical performance. As soon as I see trumpeter Tab Biggs in tails playing the notes of ‘Tomorrow’ stage right, I know I’m “gonna like it here.”

Having seen the 1977 and 2012 versions of Annie on Broadway, the touring company and all three movie adaptations, as well as documentaries about this show, I wonder what Mac-Haydn and Director John Saunders will do differently. Immediately, I see 12 orphans of varying ages crowd onto a relatively small stage. I do not remember seeing so many on Broadway and wonder how this will work.  I needn’t have worried. Every orphan is enthusiastic, moves well and sings with gusto. Whether scrubbing the floors, taunting Miss Hannigan, the head of the orphanage or dancing to ‘It’s the Hard Knock Life,’ we cannot keep our eyes off this talented bunch.

Adapted from the 1924 comic strip, Little Orphan Annie, Annie tells the story of an orphan girl left by her parents at Mrs. Hannigan’s orphanage during the depression, who has spent 11 years hoping for their return. Beloved by the other orphans, she is reviled by Miss Hannigan, an evil, self-absorbed drunk who is abusive to her wards. Annie sneaks out of the orphanage, is caught, and eventually wins the chance to stay with billionaire Oliver Warbucks for Christmas after his secretary, Grace Farrell, visits the orphanage at his request. Charming everyone she meets, sweeter than sugar Annie wins over Warbucks who quickly decides he wants to adopt her. Yet, Annie wears a locket and bears a note given to her by her parents she can neither remember nor find. She feels unwavering devotion. Warbucks sets out to locate her parents using Elliot Ness to investigate and his money to offer a large cash reward.

In steps Miss Hannigan, her convict brother, Rooster and his girlfriend, Lily, looking  to make a quick buck, while singing ‘Easy Street.’ Rooster and Lily scheme to convince Warbucks they are Annie’s parents, collect and split the money, and dump Annie.

Told amidst the backdrop of the depression, we meet the poor homeless victims of President Hoover as they sarcastically sing, ‘We’d Like to Thank you.’ We watch Annie meet President Franklin Delano Roosevelt and uplift him and other members of government singing, ‘Tomorrow,’ the iconic song of this musical. We know this story will end happily ever after, even if Annie does not find her parents.

Finding the perfect girl to play Annie can be a daunting task for any theater. Saunders finds two. I had the privilege of seeing Wild Handel (photos above), a natural curly redhead who brings a sincerity and maturity to Annie which overrides the mischievous spunk seen by others in this role. Her first song, ‘Maybe,’ immediately wins us over with her beautiful, trained voice reaching and projecting every note. You see her developing relationship with Daddy Warbucks. You feel her desperation with Miss Hannigan. You sense her disgust with Rooster and Lily. None of her behavior is overdone. We all want to adopt her by the end of her performance. I understand Gwen Matthews (photos below), who plays Annie at other performances, is equally gifted.

A favorite at Mac-Haydn, Monica M. Wemitt, plays all the comedy and delicious sadism of Miss Hannigan. At the same time, we watch her try to seduce any available man while nipping from her flask. The villain of this show, Wemitt makes us laugh as she belts about the horrors of ‘Little Girls.’ We joyfully pray she gets what she deserves.

On the other end of the spectrum, we are treated to the return of Amelia Barr as Grace Farrell. Last seen in The Last Five Years, just prior to Annie, Barr plays a completely different role as a proper, kind, efficient secretary to Warbucks, exhibiting a beautiful soprano voice, an upper crust style, and an elegant countenance.

Also from The Last Five Years, Jonah Hale returns as Rooster. Sleezy and conniving, he and Lily (Kristen Clark Bielefeldt, another Mac-Haydn veteran) sing and dance and ham it up with Miss Hannigan, all with their eyes on the money. We know they will fail, but we enjoy the ride.

It is no wonder Dvorsky is brought back to play Warbucks. Having shaved his beautiful head of hair, he commands the stage, at first gruff and not in touch with needs and emotions. Singing about his love of Manhattan with ‘N.Y.C.’ and then ‘Something Was Missing,’ as his love and need for taking care of Annie develops, Dvorsky’s voice is beautifully powerful, his significant Broadway experience evident.

Another experienced dancer and performer and Mac-Haydn favorite, Kevin Weldon does a wonderful FDR, while also playing roles in the ensemble.

The ensemble features many lead performers from previous shows giving all their energy, song and dance skills to every number. Even in the aisles where NYC city folk and orphans are actively engaged in silent theatrical bits, our eyes are drawn to these committed actors. Because there are so many orphans on stage, it is difficult to single out which girl is playing Pepper or July, fun standout roles. However, as a group they are wonderful.

We cannot forget Sandy, Annie’s rescue dog played by Pippin, owned by a cast member. Always impressive, she looks adorable, hits her marks, never barks and comes when called. S/he deserves many treats.

Scenic Designer, Alivia Cross, along with Lighting Designer, Andrew Gmoser create a backdrop that serves as both the orphanage and the 5^th Avenue mansion in front of a screen depicting New York City. A change in lighting reflects the dramatic difference between these two structures, with columns lighting up for the mansion and a revolving door and steps for each building. Set pieces and props by Props Designer, Andrew Higgs, depict the President’s, Warbucks’ and Hannigan’s offices, easily wheeled off stage.

Costume Designer, Kurt Alger, does a magnificent job dressing the poor orphans, garish Miss Hannigan, slimy Rooster and Lily, lovely Grace, wealthy Warbucks, and his crisp staff, and transforming poor Annie into lucky, loved Annie.

Sound Designer, Sean McGinley still struggles with some moments of static as was also heard in other shows. But, Music Director Evelyn Tomaro leads a six-piece band beautifully with this treasured score. We hear and often sing with every note.

Full disclosure, having had original Annie director and lyricist, Martin Charnin as a dear friend, I am convinced he would stick out his chin and grin and say, “I love ya, Mac-Haydn! Go purchase your tickets today!”

Annie, music by Charles Strouse, lyrics by Martin Charnin, and a book by Thomas Meehan directed by John Saunders, runs August 7-17, 2025 at the Mac-Haydn Theatre, 1925 State Route 203, Chatham, NY. CAST: Wild Handel/Gwen Matthews as Annie, Pippin as Sandy, George Dvorsky as Oliver “Daddy” Warbucks, Monica M. Wemitt as Miss Hannigan, Amelia Barr as Grace Farrell, Jonah Hale as Rooster, Kristen Clark Bielefeldt as Lily, Kevin Weldon as President Franklin Delano Roosevelt. THE ORPHANS: Adelaide Black as Tessie, Charlie Crowe as Molly, Emma Lehane as July, Harriet Luongo as Duffy, Quinn McCarthy as Kate, Remy Orth as Pepper, Jaelynn Barnes, Charlotte Bielefeldt, Davianna Clarke, Adelyn Lieberman, Abagail Scharoun, and Makayla Shores. ENSEMBLE: Alex Agallotis, Belle Babcock, Jack Dossett, Riley Finn, Cydney Gleckner, Hedwyn Lamy, Logan Pavia, Fiona Phelps, Anthony Michael Velez, Jack Iovanella, Kendall Stewart, and Shannon Tsunoda. CREATIVE TEAM: Choreographer Carey Channing, Scenic Designer Alivia Cross, Lighting Designer Andrew Gmoser, Props Designer Andrew Higgs, Costume Designer Kurt Alger, Sound Designer Sean McGinley, and Music Director Evelyn Tomaro.

Tickets available at www.machaydntheatre.org or by calling the box office at (518) 392-9292.