REVIEW: Annie - QPAC

Annie – QPAC Lyric Theatre

Produced by: John Frost for Crossroads Live Australia with Fowles Entertainment and Power Arts

Book: Thomas Meehan

Music: Charles Strouse

Lyrics: Martin Charnin

Director: Karen Johnson Mortimer

Choreography: Mitchell Woodcock

Music Director: David Piper

Scenery: Kenneth Foy

Costumes: Kristian Fredrikson

Lighting: Gavan Swift

Projections: Craig Wilkinson

Sound: Michael Waters

Anthony Warlow as Oliver Warbucks

Debora Krizak as Miss Hannigan

Mackenzie Dunn as Lily St. Regis

Keanu Gonzalez as Rooster Hannigan

Amanda Lea Lavergne as Grace Farrell

Greg Page as Franklin D. Roosevelt

Cameron Boxall as Bert Healy

Tom New as Drake

Blue Team Orphans: Dakota Chanel (Annie), Indigo Ohlin (Molly), Jessica Kime (Kate), Zara Boldery (Tessie), Violet Knight (Duffy), Tilly Love (July), Stella Shiels-Winters (Pepper), Dakota Bolt (Friday)

“Never work with children or animals,” they say. And yet here we were. A stage full of children. One extremely fluffy dog.

I have a soft spot for Annie. I once stood in Grace Farrell’s sensible heels myself, so I know how much heart lives inside this show. Underneath the red curls and tap breaks is something sturdier. It is a story about belonging. About wanting to be chosen.

Annie follows a fiery orphan in 1930s New York who dreams of finding her parents. When she is invited to spend Christmas at the mansion of billionaire Oliver Warbucks, what begins as a publicity stunt becomes something far more meaningful. Along the way there are con artists, radio stars, poverty, President FDR, and a dog who inevitably steals hearts… This production honoured what has made this musical endure for decades. Big choreography. A sweeping orchestra. And that unmistakable swell of optimism that somehow still lands with full force in 2026. It insists on hope, even when the world looks bleak.

The overture set the tone with projections of New York splashed across a scrim. The orphanage scenes sat in greys and worn textures; life under Miss Hannigan’s rule looking bleak and repetitive. When colour finally burst onto the stage, it felt like sunshine breaking through.

I saw the Blue Team of orphan actresses, and they were outstanding. “Hard Knock Life” was disciplined, punchy, and vocally tight. The choreography moved insanely quickly, and they met it head on with impressive stamina. They understood the comic rhythm of the combative orphanage scenes beautifully. “Never Fully Dressed Without a Smile” also sparkled with crisp harmonies, bright faces and mischief; performed with the kind of commitment that makes you forget how young they actually are.

Dakota Chanel as Annie delivered a clear, confident belt well beyond her years. Standing centre stage to sing “Tomorrow” solo to a packed house, while wrangling a dog who had other plans, took lots of courage. Her Annie was sassy and spirited, though at times the more emotional moments felt carefully rehearsed rather than fully lived. That is a refinement that will deepen naturally with experience.

Anthony Warlow (reprising Warbucks for the hundredth time), provided the production’s centre of gravity. Gruff on the outside. Gooey in the middle. We were all completely invested in his evolving bond with Annie. The challenge within Annie has always been the speed of that relationship. The script jumps a week forward, and the emotional shift can feel abrupt. That remains true here. The warmth between Annie and Warbucks was evident, but the structure rarely gives their bond the breathing room it deserves.

Debora Krizak’s Miss Hannigan leaned heavily into the bleary, fed-up drunk absurdity of the role. She was vocally steady and humorously committed. “Little Girls” did not quite snap with the venom it can carry, but “Easy Street” exploded with energy. Krizak, Keanu Gonzalez, and Mackenzie Dunn chewed the scenery, and the choreography gave them plenty to play with.

Amanda Lea Lavergne’s Grace Farrell radiated polish and warmth. She slipped into the elegance of the Warbucks household well, balancing professionalism with kindness beautifully.

Greg Page as President Roosevelt was one of the show's most intriguing casting choices. For many Australians, his voice carries decades of childhood memory. Here, he delivered calm authority with a convincing 1930s accent and reassuring sincerity. “New Deal for Christmas” radiated communal joy and optimism.

Visually, the production thrived on choreography and projections. “NYC” used video design and lighting to conjure bustling streets and Times Square. The pacing stayed brisk throughout. Possibly too brisk at times. Some relationships and stakes passed by in a blur, particularly in “Something Was Missing” and “I Don’t Need Anything But You,” which longed for a little more space to bloom.

Costuming retained strong period identity. Lily and Grace’s wigs suited their polish. Annie’s initial straight bob wig was too tidy for a scrappy orphan in my opinion and often obscured her expression, as it was never tucked behind her ears. A bit more wildness or curl would have suited her. The orchestra sounded rich and buoyant, giving Strouse’s score the sweep it deserved. “We’ve Got Annie” was an emotional high point. The Christmas décor, Annie’s entrance, and the ensemble wrapped the moment in warmth.

This was a polished revival of a beloved classic. It did not attempt to reinvent Annie. It celebrated it. It delivered spectacle, heart, and a full-length classic that families could share. Listening to “Tomorrow” echo around a theatre, I understand why this show refuses to fade. In a world that often feels grey, Annie still insists that tomorrow will be better. And judging by the smiles leaving QPAC, audiences are more than willing to believe her.