Just as sure as “the sun’ll come out tomorrow,” Annie will always have a place on American stages. The plucky read-head has been belting her way into hearts for forty-eight years. The musical has been adapted twice for film, twice for television, been revived on Broadway, and enjoyed countless tours. Annie has become so embedded in our cultural consciousness that we all assume we know it inside and out, and yet, if we casually regard the musical as a “kid’s show” we miss the reasons Annie has had such a lasting presence.

Little Orphan Annie, of course, has been around much longer than the musical. Created by comic strip artist Harold Gray, Little Orphan Annie began running in newspapers in the 1920’s. Gray was a populist conservative and used characters such as the billionaire Oliver Warbucks (a capitalist who earned a dollar “on every bullet”) to criticize FDR’s New Deal in the 1930’s. By the time lyricist Martin Charnin found a collection of the comic strips in a bookstore while searching for a birthday gift, Gray was dead and the strip had been taken over by other artists and declined in popularity. Charnin, however, saw possibility in the character and convinced book writer Thomas Meehan and composer Charles Strouse to work with him on the show. Meehan, not finding a neat and compelling origin story in the sprawling and topical comic, invented his own. The America of the late 1970s, reeling from the Nixon era and Vietnam, was desperately in need of hope and needed something much more than a children’s show for inspiration. Meehan smartly placed the plot in the Depression of the 1930’s so that it would mirror the discontent of the contemporary audience. Instead of wide-eyed, innocent waifs drowning in sweetness, Annie gives us smart, and determined orphans who still remain warm and winning. Meehan’s book, with its downtrodden Hooverville residents, and the promise of “A New Deal for Christmas,” would likely not have thrilled Harold Gray – but it certainly captivated audiences, winning the Tony for Best Musical for 1977 and running for six years.

The Chattanooga Theatre Centre is celebrating the holiday season with a new production of Annie – and their timing couldn’t be better. With division, despair, and economic hardship being trumpeted from every media outlet, we need Annie now just as much as we ever have. I doubt I need to expand upon the plot, but I will say that if you’ve only seen the 1982 film, be prepared for a slightly different (and much better) Annie. Playing the titular redhead is Sidney Cooper who does an excellent job. Among the few things that can ruin a production of this musical are an Annie who is too sweet or one who can’t distinguish between belting and yelling. Fortunately Cooper, under the very capable direction of Suzanne Smartt and Catherine Bolden, strikes the perfect balance between being loveable and still having a touch of grit. She can also sing those final notes of “Tomorrow” beautifully without substituting volume for tone. Alongside her are eight other adorable orphans who are just as skilled and just mischievous enough to almost make us sympathize with Ms. Hannigan. Speaking of the boozy villain, Hannigan is hilariously played by Kristin Norris Sharp who wrings every laugh possible out of one of the greatest comedic character roles in musical theatre. With a distinct voice and perfect timing, this Ms. Hannigan is one of the best I have ever seen.

Oliver “Daddy” Warbucks is played by Greg Glover who is phenomenal as the world-famous billionaire. Glover is so good at letting us see Warbucks melt from a slightly pompous businessman into a devoted father. There is one line in particular that I think separates a good Warbucks from a great one. In the song “You Won’t Be An Orphan For Long”, Warbucks promises that he will find Annie’s birth parents because that’s what she wants, despite the fact he very much wants to adopt Annie himself. The final line, sung by Warbucks, is “What a thing to occur, finding them – losing her. Oh, you won’t be an orphan for long.” Glover, like all great Oliver Warbucks, is able to pack that simple phrase with tenderness, heartbreak, hope, and love–leaving the audience with an understated emotional punch that catches us by surprise.

Sarah Roberts’ Grace Farrell is wonderfully warm and Roberts sings beautifully. She is a terrific complement to the early stuffiness of Warbucks. I’ve always appreciated that Thomas Meehan’s book never spells out that Grace and Warbucks will end up together – but trusts the audience to make their own assumptions. This production’s directors, together with the chemistry and skill of both Greg Glover and Sarah Roberts give us just enough to leave us grinning knowingly while never taking the focus away from Annie’s story.

Garrett Henson-Hinck and Claire Spangenberg are very funny as Ms. Hannigan’s brother Rooster, and his girlfriend Lily St. Regis. Together with Hannigan, they have one of the best numbers in the show: “Easy Street” which provides ample opportunity for them to win us over with their substantial vocal and dance skills. Later in the show, when Rooster and Lily pretend to be Annie’s birth parents (Mr. and Mrs. Mudge) Henson-Hinck and Spangenberg really impressed me with their comedic timing and delivery.

I would be remiss if I didn’t mention Rodney Strong’s performance as FDR – a perfect role for him that had me grinning from ear to ear. This whole show, as a matter of fact, sent me grinning out into the cold night air. It would be a splendid show to take your whole family to see – but I also think it’s a perfectly wonderful show to see even if you don’t have children to take along. There’s a lot more to Annie than cute kids and a dog. Do we ever really outgrow the need to be assured of the hope of the future, or the desire to see the bad guys punished while love wins? Annie is a reminder that we’ve been through rough times before – and we’ll almost certainly go through them again…but we keep going because there’s joy to be found in new beginnings and tomorrow is only a day away.

After the first five minutes of Annie, I was spellbound. Then, I worried: could a CTC production maintain this initial excellence for an entire performance? My concerns were quickly allayed and I found myself absorbed throughout the seamless musical. Quite simply, it is a top notch production. Take the time to go and enjoy.

Sidney Cooper, only nine years old, as Annie, has a voice with power and beauty that brought me goosebumps. However, and importantly, she never dominates in performances with the ensemble of orphans and many nine to fourteen year old’s have a chance to take the stage for solo pieces. Each girl was loud, clear and impressive and the group incessantly brought smiles with their routines involving gymnastic moves, tap dancing and cartwheels. The smallest of them all, Hannah Weaver, at only nine years old, repeatedly wowed us with her talent.

Annie’s dog, Sandy, an endearing and adorable golden labradoodle, takes the stage and adds humor, happiness and levity to a show which is already top notch. Sandy brought forth many a chuckle as he tugs at the leash, circles Annie and shows that he has a mind of his own. While cute, he is not on stage enough to detract from the star role.

While the plot of Annie has some harsher sides, directors Susan Smartt and Catherine Bolden turn away from the reality of life in Hoovertown during the depression. This is a happy show and therefore, while the poor line up for soup, there is not a speck of trash on the ground or a broken piece of furniture. The soup bowls sparkle clean and the impoverished are dressed in crisp clean clothes which look as if they have just come from the dry cleaners. Similarly, in the orphanage, the girls who spend their time washing windows and scrubbing floors, wear pristine white tights, petticoats, bloomers and matching pinafores. Hair is pulled back and perhaps in a French braid or adorned with bows. These girls are dressed for a party and because this is a show of unflinching optimism, we gladly dispel reality.

While Sidney Cooper carried her role marvelously, many cast members deserve marked praise. Garrett Henson-Hinck with his slimy spider leg like moves and powerful voice provides the villain we love to hate and Greg Glover offers us a kind Daddy Warbucks we want to know. Warbucks is not the aloof billionaire but rather a loveable old soul. Phil Varnell, after over 20 performances at CTC, continues to impress as a dignified and distinguished butler who can still shake a leg.

In the world of “woke” curriculums, Annie could be reexamined. What would it be for a billionaire to adopt an orphan at random just for a holiday? How should one interpret Daddy Warbuck’s horror over having to dine with a democrat? This show however, is not asking for deep insights. Abandon thoughts of analysis.

Forget holiday worries at home and skip the rat race shopping at the mall. Go to Annie at the Chattanooga Theatre Centre and celebrate the opportunity to be with friends, family and joy at the holidays. It’s a gem!

My mother, who passed away this year, was the biggest musical influence in my life. She taught me to sing and she did her best to teach me how to play piano, but I’m sad to say the piano lessons didn’t take. Maybe one day I will take lessons again. Mom was the reason that I came to appreciate musicals like White Christmas, Sound of Music, Phantom of the Opera, and especially The Music Man. The original Annie film that was released in 1982 was the first movie on the big screen that I can remember seeing in a theater. Albert Finney was a gruff and intimidating Warbucks and Aileen Quinn was the curly-haired, red-headed pistol of a kid that was not afraid to put up her dukes and sock a bully. Carol Burnette was hilarious as the drunken and lonely Ms. Hannigan. Warbucks’ employees, Grace,The Asp, and the towering Punjab provided compassion, action and comic relief. The final scene of the Annie film absolutely terrified me (because of the heights) but I was riveted for the duration of the film. In hindsight, I don’t recall any other movies that I went to with my mother. I’m sure that I did, but the stories were not as memorable as Annie.

For a show to be practical on stage, changes to the story must be made to accommodate the space, resources, and time. For these reasons, please understand that Annie on stage is true to the overall story but it does not progress the same way the movie did. I’m saying this as a reminder for myself as much as I am for you as a reader. I often fall into the trap of going to a live theater show and expecting an identical movie version and that simply isn’t fair to the production.

There are two kinds of people. Dog-people and non-dog-people. This audience were clearly dog people. Before the curtain ever went up, a sweet dog meandered across the stage and the audience immediately let out an enormous “Awwwwwwwwwww” in perfect unison. For this performance, the role (double cast) of Sandy was played by Rosco Kinzer (real dog). Who’s a good boy? It’s Rosco. He’s a good boy.

The curtain rises and we are introduced to the orphans. I was thoroughly impressed with each of these young ladies as they all had an opportunity to flex their powerful voices. It is no small thing for a child to demonstrate performance-worthy vocal control and pitch. I was pleased to see a few familiar faces that I have seen on stage before and it is always great to watch them progress their theater endeavors as they develop as actors. Among the familiar faces to me were Naomi Elliott who played Tiny Tim in CTC’s Scrooge (2023) and stole audiences hearts as Gretel Von Trapp in CTC’s Sound of Music.

I have been a huge fan of Khloe Wheeler ever since I saw her as an Oompa Loompa in CTC’s Willy Wonka and the Chocolate Factory. Ms. Wheeler is so focused on stage and still conveys youthful energy and fun through her contagious smile.

Congratulations to Hannah Weaver as Molly in her CTC debut! She is the youngest and the smallest of them all, but she has a big voice and big moments throughout the show, wrapping audiences around her little finger. The story of Annie would not be complete without the periodic “Oh my goodness, oh my goodness!” exclamation from Rylie Smith. Annabella Cisto, the tallest of all the orphans, was not a familiar face to me but she has an incredibly strong voice, so strong that I sat up in my seat a little and said, “Okay, Pepper, I hear you.”

Sidney Cooper enters as Annie, as the unofficial leader of the orphans, caring for them, singing to them, and defending them. As is typical with live theater, sometimes there are what I refer to as “hiccups” with the show. Maybe it is the sound, or maybe a misplaced prop, or maybe a cast mate “goes up” and forgets their line. It is perfectly normal and happens probably more than the audience knows. Sometimes it can noticeably throw an actor off and start a chain reaction. On this night, there was one such hiccup, beyond Cooper’s control, but she was able to immediately recognize the issue and she adapted. I was extremely impressed with how seamless she did this. Cooper is adorable as Annie and her voice soars on the high notes and suits the much-loved songs we all know perfectly.

Kristin Sharp barges onto the stage as the drunk and boisterous Miss Hannigan, with flask in hand and her perfectly overdone makeup. Her shrill voice instills fear and loathing into each of the orphaned girls as she stumbles about the stage, barking orders and yearning for a man in her life and always more money. She despises Annie above the other girls because Annie seems to be loved by everyone, yet Hannigan can’t catch a break. One almost feels sorry for her...almost.

The private secretary to Mr. Warbucks, Grace Ferrell, enters to facilitate the “borrowing” of an orphan to come and live in the Warbucks Mansion for two weeks. Sarah Roberts carries the role that is worthy of her character’s namesake. I cautioned earlier about comparing things to the movie, but Roberts’ performance was up there. She has a marvelous voice and portrays the beautiful, level-headed Grace in masterful fashion. Grace is the peace-keeper and is the rudder that steers the Warbucks ship, keeping his empire on track. Still, her corporate duties and career have not hindered her in being a force of compassion and kindness to everyone she meets. Roberts was cast perfectly.

Thanks to a little conspiring and teamwork, Grace (and Annie) sweetly swindles Hannigan into getting Annie for two weeks and they are off to the mansion. Annie and we meet the mansion staff played by the ensemble. This was a very large cast so it would be extensive to speak on each one. There were several standout moments by some of the ensemble members that were memorable to me.

Rodney Strong, plays several roles but primarily he is the 32nd President of the United States, Franklin D. Roosevelt. There was a funny moment for me when a child sitting behind me referred to him as Teddy Roosevelt. His mother quickly corrected him. Strong pays homage to FDR through his skyward-pointed cigarette holder and some light political humor. 

I love a good dance break and this show did not disappoint as Skip Cisto and several ensemble members dazzled with tap dancing and fantastic, solid singing. Madison Funderburke plays several roles but in the number “NYC”, she has a spectacular solo that is captivating. Funderburke has a magnificent ability of being able to smile while singing. She was always smiling and operating at a high level of energy. Her solo was simply tremendous.

Riley Shull, who we meet later in the show as the fast-talking radio host, Bert Healy, is reminiscent of John Candy’s comedic style and delivery. Shull has a powerful voice that led the cast in the recent production of Memphis the Musical at CTC, and he continues to lead in the ensemble numbers, holding up the high notes and big finishes with ease.

While Annie is getting settled, we meet Ms. Hannigan’s no account brother and his girlfriend. There is no bigger con man or shyster than Rooster Hannigan and, having seen the performance now, I cannot think of a better actor to portray him than Garrett Henson-Hinck. His lovely but dimwitted partner in crime, Lily St. Regis, played by Claire Spangenberg, is a perfect match for the slimy crook. One of the absolute highlights of this show was the number “Easy Street” where Rooster, Lily, and Ms. Hannigan formulated their plan to scam Warbucks. The trio’s voices blend well, all the while moving in sync even around the inebriated Ms. Hannigan in comical fashion.

Back at the mansion, the calm is overturned with the arrival of Warbucks. One of my favorite characters was the butler to Mr. Warbucks, Drake, brought to life by Phil Varnell. Varnell is the ever-patient butler, ready to serve at the leisure of the billionaire, even when the requests are outlandish and often last-minute. He says very little but never waivers as the anchor of the mansion staff.

Warbucks arrives, hair intact, and the mansion begins to bustle now that the boss is home. Greg Glover captures and leans into Warbucks’ scattered and distracted demeanor more so than his reputable gruffness, relying on Grace to keep him focused and on schedule. Warbucks meets the young Annie, and adjusts to her being a girl as he had expected Grace to bring home a boy. Warbucks quickly warms up to Annie as he gets to gradually see through her eyes while he shows her all that New York has to offer that she has never experienced.

The directing team of Suzanne Smart and Catherine Bolden have crafted a very sweet and heartfelt story and it’s a great fit to the Christmas season as the story is set in December, culminating on Christmas morning. Seasoned veteran stage manager Rob Block took the helm of the enormous cast and crew, making the show run seamlessly and smooth. Lindsay Fussell somehow found a way to weave people in and out together with graceful, entertaining dancing, even while an elderly mansion staff member balanced a precarious tower of champagne glasses, babystepping in their midst.

Seeing CTC’s Annie is a great way to celebrate the upcoming Christmas season. It’s a story of compassion and kindness and a gentle reminder that material things don’t matter if you have no one with whom to share it. It is easy for people to get wrapped up in business and schedules and we forget what is most important: Loyalty to friends, standing up for those who can’t stand up for themselves, lifting up those around us, generosity to others, and above all, love.