These days, it seems we’re living in increasingly tumultuous times, which can make it hard to hold on to hope. Triune Entertainment’s production of Annie, passionately produced by Matt Moore and directed by Renée De Ponte, is a delightful escape into a world where hope and heart matter. First appearing on stage in 1977, with a story by Thomas Meehan, music by Charles Strouse, and lyrics by Martin Charnin, this electrically endearing musical is a reminder that no matter how hard things may seem, the sun will come out tomorrow.
De Ponte has a special connection to this musical through her intimate experience with the adoption and foster care system. In 2011, she took on the incredible responsibility of fostering three siblings. De Ponte and her husband eventually adopted the three children, two of whom appeared in the show. Her immense love for her children is the inspiration behind this show, and it is evident in the care and thought that went into every aspect.
Set in 1933 in New York City, Annie is the timeless tale of a strong-willed, spunky, and endlessly optimistic orphan girl (played by the effortlessly charming Allyson Crane) who was left by her parents on the steps of Hudson Orphanage when she was just a baby with nothing but half a heart-shaped locket and a note expressing their love for Annie and their intention to one day return.
Annie clutches this hope through all the difficulties she’s forced to endure at the orphanage under the cruel thumb of the bitter, selfish, alcoholic woman who runs the place, Ms. Hannigan (Darcy Heisey). Heisey’s rendition of the role is rather reminiscent of Carol Burnett’s performance in the 1982 film version. And who doesn’t love Carol Burnett?
Annie is taken in by billionaire businessman Oliver Warbucks (Doug White), initially as a ploy to boost his public appearance. However, Warbucks quickly falls in love with Annie and decides to adopt her. His plan is foiled, though, when Annie discloses her hope that her birth parents will return to her. Out of love for the girl, Warbucks declares that he will find her parents. He sends out a message offering a large cash reward to anyone who can prove they are Annie’s parents, which inevitably results in a slew of scammers and fraudsters. Truths are revealed, and Annie eventually finds herself with the family she desired and deserved all along.
Triune’s production of Annie was packed with impressive vocal performances. One particular highlight came from Warbucks (White) and his long-time personal assistant, Grace Farrell (Jennifer Ayers). Their duet during “N.Y.C.” was incredibly grounded in the era through their stylized tones, which weaved together in perfect harmony. White also gave an unexpectedly brilliant performance during “Why Should I Change a Thing,” in which he maintained intricate dynamics and breath control during a string of extended notes, and all without ever going off pitch. And, as far as Ayers is concerned, I could have listened to her theatrical, skillful, yet effortless voice all night. Absolutely more Grace, please!
Other vocal standouts came from some of the smallest solo moments, including Kassidy Miner as Star-To-Be and Zoey Whitener as Duffy. There were, however, several solo vocal moments and spoken lines that were missed due to technical problems with the microphones, including a lack of volume, inconsistent volume regulation, and picking up backstage voices.
Fortunately, this wasn’t an issue when the entire ensemble sang together on songs such as “Hooverville” and “N.Y.C.,” which also featured incredible dance routines by Choreographer Christie Dubnansky.
The full breadth of choreography throughout the night was captivating, clever, and carefully coordinated. The group number performed by the orphans during “Hard Knock Life” exceeded expectations. We also had several impressive tap routines from our ensemble cast. During full-company scenes, each performer maneuvered skillfully, using props and furniture throughout, exciting the audience and drawing our gleeful gaze to every corner of the stage.
Another impressively choreographed section was during the jazzy jam “Easy Street,” in which Ms. Hannigan is paid a visit by her criminal brother, Rooster (Jack Tessier), and his new fiancée, Lily St. Regis (Melissa Rihl). While it may not have been the best vocals of the night, Tessier’s commitment to his character, in which he repeatedly put his whole body on the line for the sake of comedic theatricality, was truly commendable and highly entertaining. He performed several pratfalls, nearly bent over backward, and at one point, even leaped over a chair, clearing it with effortless motion.
Furthermore, the incredibly thoughtful set design, props, and costumes are what truly brought this show to life. Props Director Linda Correll went to great lengths to fill this production with stunning, genuine pieces that grounded the show in the 1930s, engulfing the audience in the story.
This includes the beautifully ornate and detailed sofa and desk in Mr. Warbucks’ office, the antique sewing machines in Ms. Hannigan’s office, and the antique wheelchair used by F.D.R. Correll also filled the show with props seen for merely a moment, but which had a large part in bringing the world to life, such as a lovely woven wooden pram seen strolling through the background of a group dance scene.
Costume Designer Kyna Chilcot also went above and beyond to pull pieces that were genuine to the era, including truly vintage items such as a few pairs of shoes and the stunning hairpin spotted in Grace’s hair. The sheer number of costume changes is a massive feat in itself. Our ensemble sported everything from naval, police, and maid/butler uniforms to countless different townspeople costumes, including both down-on-their-luck citizens as well as those a bit more well-to-do, showcasing the inequity during this time.
The scenic artists and stage crew also helped bring the show to life through thoughtful attention to detail and coordinated movement throughout. Sets were seamlessly interchanged, from the New York skyline to the Oval Office. The views from the windows in Mr. Warbucks’ office and throughout his mansion were beautifully painted to depict wintery landscapes. The use of mixed media formats curated a tactile presence, increasing world-building.
Although the story deals with some heavy topics, from the Great Depression to the failures of the foster care system, the Triune production of Annie had me grinning from ear to ear all night long — and not only because of Remi, the adorable pup playing Sandy. So, if you need a reminder during these dark days that the sun will come out tomorrow, I suggest you see this show while you can.
Running Time: Two hours and 30 Minutes, including a 15-minute intermission.
Annie plays through November 16, 2025, presented by Triune Entertainment, performing at Journey Theater, 4175 Bludau Dr, Warrenton, VA. Tickets ($25 for adults, $20 for youths, and $22 for seniors) can be purchased online.
Cast and creative credits are online here (scroll down).
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