(seen at the afternoon performance on 27th May 2026)
Both regular readers know that “Annie” at the Victoria Palace Theatre was the first West End production the monkey ever saw… and the rest is history.
Harrison, Ian and Crossroads Live have created a revival that is unmissable and unforgettable. Yes, it really is that good.
Nick Winston’s choreography has to take a lot of the credit. A slightly shaky cross-walking opening to “NYC” aside, the rest is a riot of period and Broadway moves.
The whole cast clearly loving selling the gold-plated songs with their best moves; horse and reindeer trots are wonderful, trios and ensemble numbers a joy.
Director Niklai Foster is equally inventive, along with orchestrator George Dyer. The trio come up with fresh moments which add to this old tuner a new polish. Sure, lines are cut (backsides are no longer threatened to shine like the top of the Chrysler Building), but the rest…
… Song lines are given to different characters, encouraging conversation. There are musical references you will love spotting (“Rhapsody in Blue” at one point), and even the pre-show music is worth listening to – a vintage-style American radio broadcast setting perfectly the scene.
They don’t skimp on the orchestra – 8 of them, nor on a cast who do shine like, well, you know what.
Victoria Alsina simply smashes the title role ‘out of the park’. Already an experienced young performer, she holds the theatre spellbound. Delivering her classic songs with understanding and fresh meaning; even with enthusiastic Dizzy (Sandy the dog) requiring constant treats from her pocket.
Her fellow orphans, Chrysler Team, are probably an adorable bunch off-stage… on it… well… you sort of sympathise with Miss Hannigan’s problems a little…
Seriously, Jemima Lown’s scared Molly, Amber Kouduah-Hutchinson’s not-as-tough-as-she-makes-out Pepper. Maddy Colling’s worried Tessie, Marnie Rae Warren-Baker’s realist Duffy, Thandie Lalji’s active July and Dolly Ismail’s caring Kate are a group it is no wonder Daddy Warbucks is willing to take on.
In his second bite at that role, Alex Bourne takes a very different angle. Succumbing more quickly than usual to the charms of his Christmas guest, then oozing fatherly concern from the start, it’s a lovely warmth which makes the second half storyline far more poignant than usual.
Arch enemy of all, La Voix is basically Carol Burnett crossed with Pennywise the Clown. Clearly expanding still her character with every performance, this blotto bully is seldom less than hilarious when watching, and pure evil in her (neglectful) care. La Voix sings and dances with the best too, we love her Miss Hannigan for sure.
The minor characters are also excellent. Christian Cooper and Amber Kennedy as Rooster and Lily have a double act that deserve each other. Kennedy’s casual exploration of Hannigan’s office during “Easy Street” is a classy piece of work. Cooper’s almost talking himself out of the reward is immaculately timed.
Tanisha-Mae Brown gets not only the most stunning dress in the show, but a heartfelt supportive performance as Warbucks’s secretary Grace Farrell.
Notes too for Yujin Parks as the Apple Seller, Michaela Stern and Luke Harley as Warbucks’s key mansion staff Mrs Pugh and Drake, and Carl Sanderson in many roles but particularly as avuncular Franklin Roosevelt.
The radio broadcast sequence is staged to perfection, Elliot David Parkes as Bert Healy presiding over a bunch of mixed nuts from the pulchritudinously voiced Sophie Elmes, Issy Khogali and Zoe Canham as the Boylan sisters to the bizarre drunken antics of the masked broadcaster and terrible ventriloquist.
Likewise, the smoothness of “NYC” and its moving seating underlines the quality of the show.
Sure, there are faults. Colin Richmond take the “puzzle solving” theme too far with a discordant “jigsaw of New York Streets” basic set design. The kids didn’t have toys – so why use one as the theme?
That said, the teddy bear consigned to the dormitory light fitting is hilarious, and the mansion is ingenious opulence in a single flat backdrop.
Some sound issues, in particular “clipping” (actors speaking before the microphone is switched on) was a little more prevalent than might be expected, but will no doubt be ironed out as the run continues.
Forget these minor gripes. An audience full of very young people were rapt throughout – so engaged that they almost did not dare sigh with satisfaction, but they did.
The show that sparked forever the monkey’s love of theatre is now getting the production that must surely inspire a new generation.
It really must, if there is any justice, come to the West End at some point (The Gillian Lynne Theatre is vacant about the time the tour ends in March 2027).
More to the point, if it is coming your way, don’t wait until tomorrow to buy your tickets. There is no maybe about that.
5 stars. Standing ovation given.
Tour details: www.anniethemusicaltour.uk