(seen on 7th April 2023)
From the “Golden Age of Broadway” it is 75 years since Irving Berlin’s “Annie Get Your Gun” set a record 1147 performances starting in 1946. It had an even longer first run in London beginning a year later. This celebratory concert staging proves its enduring quality beyond all doubt.
The moment Adam Hoskins whips the lush 20 piece orchestra into the joyous overture, evergreen hits flood the venerable auditorium. “There’s No Business Like Show Business” is a hymn, an anthem, explanation, justification. Unarguably one of the very best show tunes ever written; and this score is packed with them.
Rachel Tucker's Annie Oakley steals the show at gunpoint - backwoods sharp-shooting hic turning circus phenomenon with her skills. Solo, the spirits who enchant the Palladium stage encircle her as she raises the roof with “You Can’t Get a Man with a Gun,” “I Got Lost In His Arms” and a literally breath-taking “I Got the Sun in the Morning” that had conductor Hoskins exuberantly singing along. Vulnerable, innocent yet worldly wise.
The sprits of Palladium comedians past also show up early for Tucker and the children’s hilarious “Doin’ What Comes Natur’lly,” but when Annie finds Frank Butler, things kick into even higher gear.
Oliver Savile’s Frank is a rival sharp-suited sharp-shooter, and sparks fly as his and Annie’s relationship develops on and off stage. From the soft “They Say It’s Wonderful” and affirming “An Old-Fashioned Wedding” to the hysterically funny shooting contests delivered with panache enough to rack up real audience tension over the result.
Savile shines in his own “My Defenses Are Down” moment; but it is of course “Anything You Can Do” with Annie that has the audience begging for more. Deliciously sung, and helped further by the charisma the pair have between them.
By using Buffalo Bill (the inestimable Matt Henry) as narrator within the show, the producers have clearly learned much from the disastrous “Camelot” last year at the same venue. Even coming in at under two hours including an interval, the storyline is clear and concisely delivered.
This assists Jay Rincon and Olivia Moore as lovers Tommy Keeler and Winnie Tate, and also Charlotte Riby as Tate's sister Dolly. Riby gets an early fun moment as her hat gets the bird... or Annie gets the bird on the hat, truth be told. Rincon and Moore have a lovely “Who Do You Love, I Hope” later too, ensuring the trio get a little rightly deserved stage time.
While eschewing much in the way of costumes – “showbiz” suits for the gents, jeans and cowgirl blouse plus one sparkly dress for Annie and a fetching outfit for Ms Moore, director Emma Butler still finds plenty of ways to keep the show visually fun. A few simple guns, hats and stuffed toys help, as do the cast interacting with both Musical Director and the impressive Trinity Laban Musical Theatre Ensemble chorus.
Jonny Dickie’s sound design (with Josh Robins engineering) delivers crystal clear, not a single shot thrown away. Joseph Ed Thomas comes up with a dazzling circus display of lights, all colours punching home the razzamatazz of the ring which gives meaning and life to them all.
Stunning music, lyrics that still impress -
"A man's love is mighty
He'll even buy a nightie
For a gal who he thinks is fun.
But they don't buy pajamas
For Pistol packin' mamas”
Purest gold that had the monkey and all around it laughing out loud.
As one of the monkey’s friends remarked afterwards, “I’d like to see a full production of this.” The leading cast is already sorted (they know all the words), director and musical director are in place. We can now only hope theatre, rights and producer’s will is there too, so we can all go on with the show.
4 stars.