Daddy Warbucks (John Mann) with Little Orphan Annie (Izzie Squire Southworth) — Photo by Jane Jewell

This year’s Christmas musical at the Garfield Center for the Arts is based on one of the most popular comic strips of all time – “Little Orphan Annie.” Directed by Jennifer Kafka-Smith, with musical direction by Julie Lawrence, the show brings a winning combination of singable music, memorable characters, a melodramatic plot, and an energetic cast – sparked by an enthusiastic group of “orphans.” It’s the classic story of an orphan who finally finds a home – and a dog! – at Christmas.

Annie was first performed in 1976 at the Goodspeed Opera House in East Haddam Connecticut. Written by Thomas Meehan, with music by Charles Strouse and lyrics by Martin Charnin, it is set in New York City in 1933, when the Great Depression was at its worst. Meehan began working on the idea in 1972, studying the original comic strip by Harold Gray. But except for the characters of Annie, Daddy Warbucks and Annie’s dog Sandy, he found little in the strip that he thought could work in a musical. So he created an original plot, essentially an “origin story” tracing Annie’s life in the orphanage and her meeting with Sandy and Warbucks. It is also quite consciously modeled on Charles Dickens’ several novels featuring orphans, notably Oliver Twist (which was also the basis for a successful Broadway musical).

The result was an immediate hit – Annie ran on Broadway from 1977 to 1983, closing after 2,377 performances at the Alvin Theater. Nominated for 11 Tony Awards, it brought home seven – including Best Book, Best Score, and Best Musical. It also won seven Drama Desk Awards, and the original cast album won a Grammy. Its popularity has inspired numerous revivals in countries around the world, as well as a hit film in 1982, with Albert Finney as Warbucks, Carol Burnett as the villainous Miss Hannigan, and newcomer Aileen Quinn in the title role. It was adapted as a made-for-TV movie by the Walt Disney Company in 1999, There have also been several made-for-TV “sequels,” as well as a novelization by Meehan – incorporating several plot elements that had to be cut from the musical.

The lively (and mischievous!) orphans in Annie — Photo by Jane Jewell

Annie brings a large cast to the Garfield stage, with nearly 30 human actors and one dog. A large cast can be a problem for local theater productions, but Kafka-Smith has found solid performers for every part. It was particularly enjoyable to watch the orphans – nine girls in a range of sizes and ages – singing up a storm, dancing with true abandon, and clearly enjoying every minute of their on-stage time. Izzie Squire Southworth plays Annie and has excellent co-conspirators in her comrades in the orphanage: Kynlee Cahall, Olivia Coppage, Alden Swanson, Ava Hoffer, Marin Boone, Averie Hitzges, Finley Ewing, and Lauren Farley. A lot of hard work clearly went into getting ready for this performance, and it was worth every minute.

Izzie Southworth, cast as Annie, is, of course, the focus of all the drama, and she does a fine job in the role. Previously cast as Susan in Miracle on 34th Street, last year’s Garfield Christmas show, she captures the character’s spunk and determination, and delivers her big musical number, “Tomorrow,” with plenty of spirit.

Miss Hannigan exhorts the orphans — and gets exhorted right  back! — Photo by Steve Atkinson

John Mann, who has been in numerous plays at both the Garfield and Church Hill Theatre, makes his musical debut as Daddy Warbucks. He displays a nice baritone voice, and his acting in the role of the benevolent capitalist is flawless.

The villain of the piece, Miss Hannigan, is played by Melissa McGlynn, whose talents as an actress, singer, and dancer are no secret to anyone who’s followed local theater. But this role brings out a whole new dimension. Her over-the-top portrayal of the hard-hearted, hard-drinking headmistress of the orphanage may be her best role yet.

Brad Chaires and Natalie Lane have supporting roles as Hannigan’s con-man brother Rooster and his sleazy girlfriend, Lily St. Regis. The two try to pawn themselves off as Annie’s real parents in order to win a $50,000 reward.  They make a very effective team with McGlynn.  Together the three of them are a riot!  You don’t want to miss their big song-and-dance number, “Easy Street.”

Annie Sparks does a nice job in the important supporting role of Grace Farrell, Warbucks’ secretary. And Robin Wood brings President Franklin D. Roosevelt to life, both in voice and mannerisms – a good job in a role that lends the play a lot of its period flavor. As an added ingredient, FDR’s cabinet is augmented with local “celebrities” in every performance. Dr. Mel Rapellyea and Pam Duke, both Garfield board members, filled out the cabinet in the performance we saw. Chestertown Mayor Chris Cerino took the stage on opening night. There will be two different local celebrities in each performance over the three-week run of the play.

In addition to the major and supporting roles, Annie also has a very multi-talented ensemble of actors, singers, and dancers who take on multiple roles in multiple scenes, adding texture and depth to the play.  In the Hooverville scene, they are the unemployed and homeless, huddling around a trash can fire to share a meal.  In other scenes, they portray residents of New York City and the staff of Warbucks mansion–all the time singing and dancing.  You know that there’s a lot of quick costume changes going on backstage!

Annie is welcomed into the family by Grace and the staff at Daddy Warbucks’ mansion — Photo by Steve Atkinson

It’s nice to see several family groups in this production.  Annie is played by Izzie Squire Southworth and her older sister–coincidentally named Annie– is a member of the singing and dancing ensemble.  David Ryan and his son Zach Ryan each have several roles.  Ryan Ewing plays Bert Healey, the radio host, while his daughter Finley is one of the orphans.

In this large cast, last but by no means least is Sandy the dog, played by Auggie, also a dog. Auggie is a five-year-old Border Collie who is absolutely winning as Sandy, Annie’s stray dog. Auggie is a rescue dog who was adopted–so also an orphan– in 2015 by Skylar Landis who trained Auggie for the role and stays with him backstage during the play. Auggie is perfect in one of the show’s iconic roles. Woof!

Sandy the dog played by Auggie the dog with Annie (Izzie Squire Southworth)– Photo by Jane Jewell

For this production, the directors chose to use a pre-recorded accompaniment rather than a live orchestra. While I always prefer to hear real musicians, the recorded music works well and does ensure a degree of consistency – perhaps an asset considering the large cast and the varying experience levels of the actors. Not surprisingly for such a large cast, there are the occasional off-notes but on the whole, the musical numbers are excellent.  And there are quite a few members of the cast who exhibited beautiful singing voices–Annie Sparks, Julie Lawrence, Connie Fallon, Heather Joyce-Byers, and David Ryan to name a few.  Maya McGrory has a very sweet solo as a tourist/visitor in the NYC scene. Kudos to Lawrence for yet another first-class musical performance.

The costumes also add an important period feel, from the orphans’ raggedy dresses to the more elaborate outfits of the older characters. Costume credit goes to Barbie Bedell and her assistant Kat O’Grady Melson. Kimberly Stevens’ choreography is one of the ingredients that help make this show a fully integrated theatrical experience. And there’s something extra to enjoy in almost every scene – I especially liked the radio show set, where an assistant (David Ryan) held up an “APPLAUSE” sign at appropriate intervals, and a ventriloquist (Zach Ryan) sat with his puppet on the side of the set while at a trio of sisters sang a toothpaste commercial.

Radio announcer Bert Healey (Ryan Ewing) and Boylin Sisters singers (Connie Fallon, Heather Joyce-Byers, & Julie Lawrence) — Photo by Steve Atkinson

But the truest test of a dramatic production is the audience’s reaction, and practically from the first appearance of the orphans in their bunk beds, the audience was enthusiastically applauding. This is an infectiously enjoyable show – just the thing to get you into a holiday mood. Needless to say, it’s a good show to take younger audience members to – I can’t imagine a better introduction to musical theater. Highly recommended for all ages.

Annie will be running through Dec. 8, with performances at 7 p.m. Fridays and Saturdays and at 2 p.m. Sundays. Due to the popularity of the show – reservations are definitely recommended. The Sunday matinee on Nov. 24 was a complete sellout, and more sellouts are likely. Also, the theater has announced that it will not accept unpaid reservations for this show. Online ticket sales will cease three hours before the opening curtain for each performance.

Tickets can also be purchased online here via Eventbrite or by calling the theater at 410-810-2060 or in person at the box office, Wednesday through Friday from 10 to 3, Saturday 11 to 2. Tickets are $20 general admission, $15 for seniors (65 and up) or active military, and $10 for students.

Natalie Lane, Brad Chaires, and Melissa McGlynn hoof it in “Easy Street”. — Photo by Steve Atkinson

President Franklin D. Roosevelt (Robin Wood) meets Annie (Izzie Squire Southworth) and Daddy Warbucks (John Mann) — Photo by Jane Jewell

The unemployed and homeless huddle together in the Hooverville scene. — Photo by Jane Jewell

The “Annie” ensemble in Hooverville — Photo by Jane Jewell

Daddy Warbucks inspects his new painting from Paris — Photo by Jane Jewell

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Betty shows John her new baby, while Dorothy, Aunt Rose, and Mom Elise watch – (Robbie Spray, Michelle Christopher, Kathy Jones, Bonnie Hill, and Peggy Chiras) – Photo by Jane Jewell

Earl Lewin’s Miracle, now playing at Church Hill Theatre, is a poignant family drama that follows a young man from his teens into his retirement years. In the process, Lewin shows us a swath of history from the early 1950s, when his protagonist John is a high school boy in Philadelphia, to some time close to the present day.

Presented by Lewin’s BC Productions, the play is dedicated to the memory of the playwright’s wife, Roberta Lewin, and her belief in “the life-expanding power of the performing arts.” Roberta Lewin died Oct. 6 as the play was in rehearsal. The Church Hill performances are presented as a celebration of her life, in lieu of a more formal gathering.

The play begins with John and his wife Ann cleaning out their attic, in the process unearthing momentos that bring back memories. John is reluctant to part with many of the items – especially a picture of his cousin Betty, whom he hasn’t seen in many years. These memories lead to a series of flashbacks, largely focused on Betty, her sister Dorothy, and their families.

We meet the two girls, along with John’s mother and Aunt Rose, when Betty comes to show her six-month-old son Glenn to the family. But there is already a hint of trouble in the air. Looking at Glenn, John – and other family members, including the father, Betty’s husband Tom – sense there is “something wrong” with the infant. At the same time, we learn that Betty is pregnant again while Dorothy has been unable to have a baby. Dot and her husband Milt have been hoping for a child ever since Milt came back from World War II service but now it’s been six years and still no baby for them.

The situation deteriorates as it becomes clear that Glenn – who never appears other than as an infant in his mother’s arms – has been diagnosed as retarded. “Retarded” – that’s the term used in that era and the word Betty uses to describe her son, though Betty’s mother Rose and sister Dot all hate the word and want to believe that Glenn is fine and probably will “outgrow” any problem. But the doctors all say that Glenn will never develop beyond the mental age of five.

The cast of “Miracle”, a new play by Earl Lewin.  Seated: Peggy Chiras as Dot, Michele Christopher as Betty. Standing L-R: Chris Rogers as John, Nita Wieczoreck as Ann, Howard Mesick as Milt, Steve Hazzard as Tom, Peggy Chiras as Dorothy aka Dot, Minnie Maloney as Young Ann, & Robbie Spray as Young John – Photo by Jane Jewell

The father soon wants nothing to do with his son. As the months pass, baby Glenn’s disabilities become more evident. Then the new baby arrives and is healthy and normal. Tom begins to push to have Glenn institutionalized. At first, Betty agrees but then Dot, the older sister, questions the decision and asks what will happen to Glenn, now a toddler, if he is institutionalized. Betty is confused – torn between her sister’s and her husband Tom’s arguments. Tom says that they have to think about Tommy, the new baby, and what’s best for him, how to give Tommy a normal life. This conflict shapes the rest of the play.

The sisters Dorothy “Dot” and Betty – Photo by Peter Heck

During all this, John is getting on with his own life – going into the Army for the Korean War, attending college, meeting and marrying Ann, having a family, working a job – and these life events put him on the periphery of the drama revolving around Glenn. The play alternates between scenes with present-day John and Ann talking about the past, and flashbacks in which we see the events they are still trying to understand, 40 or 50 years afterward. As the play progresses, John becomes obsessed with the memory of Betty, and his curiosity about what became of her. He regrets not keeping in touch and wonders if he should have helped Betty more. Was he being selfish, just involved in his own life? He eventually decides to try to track her down, to see if she is still living.

Lewin, who directs his own play, has become one of the landmarks of the local theater scene. His previous work runs the range from light mysteries to broad comedy to touching family sagas. For Miracle, he has brought together an excellent cast including a number of actors who have worked with him in the past, all well known and respected in the local theater scene. If you’ve seen BC Productions’ stagings of his plays Hitched, Orlando Rising or St. George’s Blues, you know you’re in for a treat.

Ann and John take a break from cleaning out the attic – Photo by Jane Jewell

The character of John is played by two actors – Chris Rogers as the mature John, Robbie Spray as his younger version. Rogers, whose many credits include roles in eight other plays by Lewin as well as his being one of the founders of Shore Shakespeare, is just right for the part. He gives the character a nice mix of whimsical humor and serious retrospection. This is a man who is looking back on his life, reminiscing and wondering about the meaning of it all and about all the “what ifs” of his life.

Spray, most recently seen in CHT’s A Flea in Her Ear and 33 Variations, does a nice job as the younger John. He is believable as someone who could grow up to become the older version of himself portrayed by Rogers. Young John is focused on his own immediate problems and concerns while retaining affection for his older cousins. At first, he doesn’t want to see the new baby but then he remembers how much fun he and his cousins used to have, how these older girl cousins were so important to him during the war years when his own older brothers were away as soldiers. Then when he sees the baby Glenn, he becomes concerned about what is wrong and how that will affect everyone, especially Betty who he admired as so lively and fun.

Nina Wieczoreck, who has many local theater credits both on stage and backstage, plays the older Ann. She shows a wonderful combination of warmth and down-to-business seriousness as she herds John through the process of cleaning the attic while providing a patient ear for his reminiscences about Betty and her family.

In the later scenes, after the young John marries, Minnie Maloney plays the young Ann. Last seen in A Flea in Her Ear, Maloney is convincing as the kind of woman who would appeal to the free-spirited John. She shows the humor, kindness, and intelligence that is still evident in the relationship between the older John and Ann.  This synchronization of two actors playing the same character years apart is quite difficult but Maloney and Wieczoreck make it look easy.  Great job!

Tom wants his “retarded” son institutionalized but Dot fiercely objects. – Photo by Jane Jewell

Michelle Christopher, a member of the CHT board of directors and a frequent stage manager for local productions, takes the role of Betty. She ably portrays the evolution of the character from a happy, lively young mother to a tense and downtrodden wife, trying to balance life with a demanding husband, and two small children including one with special needs. Christopher handles this demanding role powerfully and effectively.

Peggy Chiras, also a regular in Lewin’s plays, is cast as Betty’s older sister Dorothy, called Dot. Dot is in a difficult situation. She wants to be happy for Betty and supportive of her but it’s hard. Dot wants children of her own and tries to hide her envy of her younger sister who now has two. Dot is also very angry with Tom for not accepting his son Glenn. These emotions are difficult for Dot because by nature she is a very warm-hearted person who wants to help everybody. But, of course, she can’t. Dot handles these contradictions with aplomb although the situation finally begins to take its inevitable toll. Chiras makes this character come alive with everyone rooting for her

The versatile Howard Messick is cast as Milt, Dorothy’s husband, while Steve Hazzard, a regular member of Lewin’s casts, plays Betty’s husband Tom. Both do excellent jobs in their roles – Messick as the supportive husband, Hazzard as the war veteran who came back “changed” and seems to compensate for the trauma of his service by placing impossible demands on his wife.

Young John and young Ann played by Minnie Maloney and Robbie Spray – Photo by Jane Jewell

Two veteran actresses do solid work in minor roles. Bonnie Hill is cast as John’s mother, Elise. She is joined in the play’s early scenes by Kathy Jones as Aunt Rose.

The set is basic but effective – a few pieces of furniture and some movable cubes serve to represent the several locations called for in the script. The costumes were clearly carefully chosen to highlight both the characters’ individual personalities and the fashions of their times. The costumes thus present a progression through the decades – kudos to Wieczoreck for capturing the spirit of the play’s trip through time.

This strong cast makes the play a treat for anyone who follows the theater. Lewin’s script has its moments of overt tension and a few laughs, but the real focus of the play is on subtler relationships between the characters – which means the actors are really in the driver’s seat. And given the long time span covered by the flashback scenes, the main actors have plenty of opportunities to show their characters growing and changing. The play’s final revelation is low-key, but all the more effective for the actors’ strong work in preparing the audience for it.

This is a philosophical, reflective play that explores the attitudes and responses of both individual families and society in general to the problem of the “different” or “unwanted” child. It is often hard to remember that not so long ago, many people reacted by hiding or denying the child. The play also examines the role and the worries and regrets of the person on the fringes of a family drama.

In an interesting parallel, this weekend the two main local theaters are offering audiences plays dealing with the same issue. Friday, November 22, is opening night at Church Hill Theatre for Miracle and at the Garfield in Chestertown, it’s opening night for Annie, the Musical.  On a quick glance, the two plays couldn’t be more different – one serious and poignant, the other a light-hearted musical.  Yet they explore the same issue – the problem of the “different” or “unwanted” child – the orphan.  Are they to be accepted and cherished or ignored and rejected? Institutionalized or given a loving home? The Spy recommends seeing both plays!

Miracle opens at Church Hill Theatre on Friday, November 22 and runs two weekends through Sunday, December 1, 2019. Performances begin at 8 p.m. Friday and Saturday nights, and Sunday matinees begin at 2 p.m. Tickets are $15 (cash or check only) for all performances. For information call the theater at 410-556-6003 or visit the Facebook pages for Church Hill Theater or BC Productions.

Tom tells Betty, Dorothy, and Milt how he feels about the future of their child – Photo by Peter Heck

Young John (Robbie Spray) and Betty (Michelle Christopher) – Photo by Jane Jewell

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