Review: The Sun Shines on ‘Annie’ Inside Hollywood’s Dolby Theatre

The national tour of Annie, filling the Dolby Theatre in Hollywood (the site of its last stop) with exuberance through May 18th, is a radiant and heartfelt production that reaffirms the musical’s timeless appeal. Under Jenn Thompson’s deft direction, this rendition of the musical weaves nostalgia with fundamental storytelling, delivering a family-friendly spectacle that uplifts without veering into mawkishness. Ultimately, its enthusiastic energy and polished craft render the rediscovery of an affecting optimism through a classic lens.

Set in 1930s New York City during the Great Depression, Annie follows the spirited, eponymously named 11-year-old orphan protagonist, who clings to a half-locket and the dream of reuniting with her parents. Escaping a bleak orphanage run by the callous Miss Hannigan, Annie befriends a stray dog, Sandy, and finds an unexpected ally in billionaire Oliver Warbucks (brokered by his big-hearted secretary Grace Farrell) whom she stays with over the Christmas holidays. As the clever girl’s charm reshapes Warbucks’s world, a devious plot by Hannigan’s brother Rooster, recently released from prison, and his exceptionally shrill girlfriend Lily St. Regis, threatens Annie’s happier horizons. It is a story (written by Thomas Meehan) that underscores the perseverant spirit of goodness and a family forged not by blood but a mutual longing for a substantive bond. Of course, Charles Strouse’s music and Martin Charnin’s lyrics soar with as much affability as they ever have, ensuring there isn’t a dry eye in the house by show’s end.

Rooted in Harold Gray’s 1924 comic strip Little Orphan Annie—itself inspired by James Whitcomb Riley’s 1885 poem Little Orphant Annie—the musical premiered on Broadway in 1977, clinching seven Tonys, including Best Musical. Its hardship-laden backdrop, with glimpses of Hoovervilles and FDR’s New Deal, channels the era’s meager times while echoing Charles Dickens’s tales of resilient orphans, like David Copperfield. When Annie premiered, it offered an uplifting counterpoint to the cynicism of the 70s, an outlook that feels relatable in 2025’s own turbulent times, where economic and social challenges mirror those of the past.

Hazel Vogel, as the gladsome Annie, puts forth a captivating performance, blending a sweet and crystalline voice with a nuanced depth that satisfyingly complements traditional conceptions of the role. Her “Tomorrow” radiates defiance, while “Maybe” unveils a tender yearning, grounding her wish to find her parents in quiet strength. As the guardian that has always eluded her, Christopher Swan’s Warbucks is told through a masterful arc, shifting from an ever-busy magnate to a doting father-like figure with a warm baritone that elevates “Something Was Missing” into a heartwarming number.

As the love-to-hate and whistle-toting antagonist, Stefanie Londino’s Miss Hannigan is a comedic tour de force, her sharp physical timing and vaudevillian flair in “Little Girls” infusing her persona with a desperate, almost sympathetic edge, distinct from past caricatures. Julia Nicole Hunter’s Grace exudes poised warmth, her luminous soprano chops on display in “I Think I’m Gonna Like It Here“ and “N.Y.C.” From the moment her beatifically blue-coated character determinedly chooses Annie, Hunter anchors the scenes she’s in with a subtly powerful and steady hand. Rhett Guter’s Rooster slinks and skulks with charismatic menace, paired perfectly with Isabella De Souza Moore’s sublimely ditzy Lily St. Regis, their “Easy Street” a gleeful gambol of scheming energy.

Mark Woodard’s FDR captures the buoyancy of the historic economy-salvaging president, his presence enlivening scenes at the White House and in Warbucks’s den, even if the other characters hilariously pay him less mind than expected. The orphan ensemble—Aria Valentina Aldea (Pepper), Eva Lizette Carreon (Kate), Anna Dillon (July), Kylie Noelle Patterson (Tessie), Nora West (Duffy) and especially the indisputably adorable Olive Ross-Kline (Molly)—ignites the stage with fierce vitality in “It’s the Hard Knock Life,” and in “You’re Never Fully Dressed Without a Smile,” a cartwheeling and Broadway kick-lining delight marked by the children’s synchronized and infectious effervescence.

Kevin, the labradoodle playing Sandy, steals hearts with his loveable essence and Tony Award-worthy commitment to the part, a testament to trainer Charlotte Woertler’s expertise. The adult company—Anthony DaSilva (Apple Seller, Hull, Sound Effects Man), Alloria Frayser (Connie Boylan, Cecile), Caroline Glazier (Bonnie Boylan, Annette), Danny Lindgren (Lt. Ward, Ickes, Brandeis), Joel Newsome (Drake, Bundles McCloskey, Fred McCracken), Stephanie Wahl (Mrs. Pugh, Sophie the Kettle, Perkins), and Drew Tanabe (Morganthau, Assistant Dog Catcher, Jimmy Johnson) to name most—brings versatile dynamism, seamlessly embodying everyone from Hooverville dwellers to Warbucks’s staff or FDR’s cabinet members. Key standouts include Savannah Fisher whose “Star to Be” in “N.Y.C.” seizes the spotlight with a soul-stirring belt, and Matt Gibson whose turn as radio host Beart Healy earns sparkling smiles and applause.

The creative team crafts a world that nostalgically unearths a time capsule colored by both its deprivation and innocence. Jenn Thompson, who played Pepper in the original Broadway production, directs with a deep understanding of the story’s emotional core, emphasizing character connections and historical authenticity over flashy reinvention. Her staging highlights the contrast between poverty and privilege, ensuring that moments involving the Hooverville shanties and the majestic splendor on Fifth Avenue resonate equally. Patricia Wilcox’s choreography is zestful in the face of oppression, from the fervency inclusive of buckets, mops, and brooms in “Hard Knock Life” to the graceful, jazzy movement during Act II’s title song (“Annie”).

Wilson Chin’s scenic design, framed by a blue-collar urbanity and an antithetical white-collar escape, transitions fluidly from the orphanage’s stark austerity to the soothing warmth emanating from Warbucks’s palatial estate. Alejo Vietti’s costumes vividly distinguish the epoch’s divides—Annie’s tattered smock evolves into her iconic red dress, while Hannigan’s disheveled frocks contrast Grace’s tailored elegance. Philip S. Rosenberg’s lighting design accentuates the mood, bathing tender scenes in soft glows and casting gritty shadows over rundown settings.

Moreover, Ken Travis’s sound design magnifies the crispness and clarity of the vocals, despite minor instances of microphone popping. Ashley Rae Callahan’s hair and wig designs assist in the century-ago immersion, from Annie’s trademark red locks to Hannigan’s tousled ‘do, while Andrew David Sotomayor’s orchestra breathes fresh life into Strouse’s score, the musicians’ collective sound aurally suffusing every row and level at the Dolby.

Overall, this Annie is a testament to the power of simple, but not simplistic, stories that convey the layers of the human condition and most basic of necessities—a loving family. The national tour honors the musical’s legacy with a production that feels alive and relevant, reminding attendees that a happy ending may never lurk too far behind sad circumstances. Whether one is sharing it with a child or rediscovering its appeal, Annie offers a sunny experience built on aspiration and connection where the light of hope is never extinguished.

Cover image caption: Hazel Vogel and Christopher Swan in the national tour of Annie. Photo by Matthew Murphy, MurphyMade (c) 2024.

For more information and to purchase tickets to the national tour of Annie at the Dolby Theatre, visit broadwayinhollywood.com.