GREATER MANCHESTER DRAMA FEDERATION 3 ACT PLAY FESTIVAL 2017/18

Society Heywood AODS

Title Annie

Author Book by Thomas Meehan. Music by Charles Strouse Lyrics by Martin Charnin.

Date & Time Tuesday 17th October, 2017

Venue Heywood Civic Hall, Heywood.

Contact/host name Alex Blakely

Contact on the night Various – A warm welcome – thank you.

Young actors in cast? Yes

Licence available No

Production highlights: Good diction and audibility with excellent pace. Strong playing from principals and chorus with good characterisation– especially the Cabinet. Excellent sets and costuming which effectively provided differing contexts.

To think about for the future: . To think about positioning for Annie for her songs. To bring out the theatricality deriving from the context through dance in Hooverville. Although good characterisations were evident, one or two needed stronger definition.

The Production:

A popular musical, re-interpreted for numerous television and film adaptations. Still going strong, perhaps due to the current run in London and recent playing of Miss Hannigan by a certain dance judge.

A society requires a good spread of youth ages to fill the more junior roles required for the orphans and the more adult roles. At first, Annie appears a light, frothy musical but its contexts and themes are quite serious: set in the 1930’s depression, a contrast must be shown between the rich, elite Oliver Warbucks and the poverty of the orphanage and times. These provide the backbone of the production which can be utilised for dramatic meaning and motive. A society also must take care that the play does not revolve around just the three main characters; the afore-mentioned Warbucks, Miss Hannigan and Annie – other characters, situations and themes must also be highlighted and given room to breathe and be shown through dance and presentation. In addition, Annie can be sometimes played as saccharine sweet and twee which perhaps defined the musical as light and as a reason for those who chastise it. A careful balance of interpretation is needed for Annie so that she does not become annoying.

THE PRODUCTION

Adjudicator writes and identifies themes, challenges and requirements, etc., and details the requirements and elements of the production in which he was particularly interested.

TECHNICAL: Set and props A set which shows creativity and innovation and addresses the style of the production. Is well constructed.

Props which are in period, authentic in appearance and placed strategically e.g. furniture.

A large stage which allowed for variety in playing positions and permanent locations. To stage right, Miss Hannigan’s orphanage office was effectively represented with dirty-looking and suitably stained flats. The wallpaper was split, a dirty green for the top half, brown for the lower – all adding to the grungy feel. The large desk, wooden swivel chair and dressings correctly depicted the period, with a good radio on top of a sideboard on the stage right wall. Due to the restricted space, some cast positioning was adversely affected as characters had to ‘act’ around the large desk. A tall white coat-stand stood stage left of these flats. A good pictorial presentation was provided (stage left) of the park (or was it the mansion grounds?) with a white bench and a very tall, robust looking lamp. Whether this was of the correct style for the location and 1933, I am unsure, but it certainly looked grand. However, as mentioned in the director notes, for all the wonderful effort and skill in producing this area, its inclusion was at times superfluous as any activity here could have been adequately acted on stage without detriment to scene changes. Use of tabs helped to disguise large scale changes on the main stage: all of which were handled very well. Transitions from orphanage to Warbucks’ mansion to the White House were clean with no noise. There were some large items of furniture here including a long wide table, five or so ornate wooden chairs for the Cabinet Room, and a chaise. Obviously, a large wing space does facilitate inclusion, and easier moving of such big, heavy items. The only time we had a lull was the change into scene 4 from 3 in Act II – no doubt the tall Christmas tree took some effort which was covered by the musical interlude. This slightly impacted on the flow which I am sure over the run was mitigated as you became used to moving such. Quick movement was helped by the clever and simple ruse of two trucks with flats on which had a different window design for the mansion and White House; these could be quickly rotated. Any musical must grab an audience’s attention immediately and this was helped by a very good dormitory – metal framed beds which suggested sparseness - set to open the show which gave the necessary themes of poverty and neglect against the tall skyscrapers and tenement buildings on the city skyline on the backcloth. However, although the dressing of the set (green bedding, loose sheets, pillows, a wicker basket, and brushes or mops in silver buckets) was good, perhaps such was too bright and clean and perhaps needed dirtying to reinforce the run-down orphanage. This too assists in helping the audience to form their impression of Miss Hannigan -her miserly and cruel treatment of the children borne out in the meagre, dilapidated

surroundings and beds, etc. The grunge of the office needed replicating a little more in the dormitory. I was pleased to therefore see a good contrast shown with the mansion set; ornate looking windows, luxurious, shaped curtains, flowers on stands. To begin - two dining chairs stage right and the chaise stage left certainly gave the rich and elegant feel to the living room. Excellent. Although there was plenty of room for dances, the stage never looked sparse. For the lead into Hooverville we had a large wooden cart for the apple seller. The excellent large girder running parallel across the top of the stage helped to portray the lower part of the bridge. Downstage right, three poles in a triangle formed the structure for the cooking pot. For the mansion and White House, a large ‘posh’ desk. The red curtain tabs provided a rich but appropriate backdrop for the NBC studio with a super Oxydent sign which really set the scene - historically and visually. You could have taken the easier route and just presented a microphone, but this sign exemplified the detail in dressing and set furniture all the way through this production. It is America, it is Warbucks, and as with the Christmas tree – everything is big, brash and bold. The sign also gave that information about how programmes then were sponsored- a theme which very much came across here - excellent. I must commend the properties team, as all the way through, cast had many items to use such as lovely, brightly wrapped, large presents, suitcases for the ‘star-to-be’ a teddy for Molly, briefcase for Grace, laundry sacks, folders and a phone for Hannigan’s office, bottles, a super wooden bath / wheel chair, applause signs and cutlery, etc. Apart from the cleanness of some items, discussed earlier I was pleased to see authentic looking furniture and hand held properties which certainly added to the themes and contexts of the Hannigan stinginess and poverty of Hooverville in contrast to the Warbucks’ extravagance. Well done!

Lighting and Sound Lighting and sound effects which contribute towards the dramatic potential, etc. Youth productions with their many actors and actresses employing all areas of the stage certainly make demands on the lighting department. All areas of the stage were always well lit. The cast could always be seen in good light – no shadows at all. Transitions between scenes were smooth and always on cue. For example, the dimming of Hannigan’s office stage right as she and Rooster/Lily moved centre stage for the Easy Street song. You gradually lit their way - so helping to maintain the momentum of the production and helping the audience to quickly focus in on scenes and performances. I especially enjoyed the transitions from central stage to the park. This comment is perhaps more of a directorial note, but perhaps to begin the show, the lights could have been brought up slowly as the overture neared its end. The scene had been set but the stage remained in darkness until the overture finished. A gradual rise would have allowed us to ‘drink’ in the good set and gain a sense of location and theme – especially bathed in the effectively cool white light you used for the orphanage which certainly helped to provide that sense of sparse coldness. You created a nice warm spot on Annie as she sang to Molly in the first scene and also framed her nicely during ‘Tomorrow.’ However, the full lighting for the apple

seller scene seemed a few seconds late. For some reason the levels of light seemed to vary during scene 5 (Warbucks’ mansion) for a short spell. More use of a white follow spot was needed to pick up the ‘Star to be’ in the NYC song. And also, perhaps, a spot was needed to end the song, slowly closing in on Warbucks carrying Annie off. In addition, a spot would have allowed the effect (as scripted in the libretto) on Annie to open Act II in the radio studio. However, a nice gradual rise was utilised to open the act. I liked the blue hint upstage for scene 8. The mood created at the park with the pink glow looked homely and comforting as Warbucks and Annie danced. All sound effects were of the right levels and never intruded or were too loud. With young people, when voices may be a little lower, the wrong microphone sound levels can destroy a production. But here, sound and lights were sensitive to the demands, as well as the performances of the youth group – especially during the solos and generally all performers could be clearly heard against the orchestra. Unfortunately, we had a few sound glitches and (costume?) interference, with the occasional microphone not always turned off. These situations were rare; the latter in the second half and the former mainly to begin the show. However, for 99% of the time sound was clear, well organised between cast microphones and no doubt a technically constant job well done. A dog barking, police sirens, train passing, traffic noise and hooting all were on cue and added to the context and mood of each scene deployed in. Lighting also serves to create mood and to project atmosphere and here both were provided, so helping with the telling of the story and to provide settings. Overall, a busy night with lights and sound who both had excellent synchronisation with the cast. Super!

Costumes Costumes which are in of the period, well fitting, colour co-ordinated and enhance characterisation. As with the set, costumes are so important, and here you excelled in providing clothing which ‘sold’ the theme clearly. Orphans looked suitably drab in grey T-shirt type smocks and ‘long-johns’, over which green dresses for daytime were worn. The Hooverville inhabitants were presented well– their dark and dull hues with scarves and caps providing the dour conditions of their shanty town existence. Some clothes were loose fitting to show the people’s starved state. In NYC, a range of job types was shown which presented a colourful, exciting picture. The extravagance and wealth of Warbucks was superbly shown in the many maid and male servant costumes; black dresses and white aprons, smart grey trousers, black bow ties; gloves, tails and pinstriped trousers for Drake; the many suits for Warbucks and quite a few dress changes for Grace. Good power dressing here – especially for Warbucks – he always looked smart. With the two latter named; consistent changing effectively indicated the passage of time. To begin, Grace looked correctly business-like in smart skirt and white blouse – a plain look in contrast to different coloured costume at the mansion. However, I am unsure why she needed to change from a blue skirt in the middle of scene 8 for her reappearance later in the same scene?

Rooster and Lily were presented in bright but tacky clothing which helped to develop their characters. Annie’s clothing changed considerably; from the afore-mentioned orphan clothes to up-market, rich looking dress (scene 8) to match her new lifestyle. Miss Hannigan’s loose black chiffon gown helped to show her thin frame – for scene 9, a mottled green dress and long beads -for scene 7 a red dress – all depicting the faded harridan. All characters were dressed well with good attention to detail – especially in the radio scene – Bert - colourfully presented with red trousers, a yellow waistcoat, boater and red bow tie to help portray the loud, snazzy character, Wacky (the doll I presume) in pigtails and bright clothes, the three Boylan sisters co-ordinated in three ruffled maroon dresses with bows in hair – definitely looked like a singing group. Throughout the production, colours were varied and contrasting in dullness or richness to suit the context; purposeful such as the white coat and hat for Bundles, a blanket for the President, and all the suits for the Cabinet which provided an excellent ‘running -the-country’ feel. A herculean task which successfully helped to ground the show in the necessary contexts. Super!

Makeup and hair Make hair and wigs which are in period and appropriate to the production

(including size of venue) and assist in developing the character.

Occasionally in the opening dormitory scene we lost some faces as hair was down and in some instances needed tying up in buns or clipped away from faces. The range of wigs always looked natural and hair shaping such as the pigtails for the radio station character, Molly’s pigtails, frizzy hair for Annie or Grace’s hair in a business-like bun, all projected a specific look for a character. The blonde wigs for Boylan sisters looked good. A successful match between costume and hair styling.

Director and Production: Joanne Marshall There was a liveliness throughout the production. You ensured all the acting was projected with good energy and attack. The opening scene had vitality as the girls fought and interacted with each other. Occasionally, as the orphans were positioned, we sometimes (though rarely) lost some faces as they stood or sat too side on, or faced upstage. However, the show definitely opened with energy to grab the audience. Again, Molly was too far upstage and we lost Annie’s face as she sang “Betcha he reads.” Although, where possible you placed Annie centre for her songs, I was slightly concerned at the siting of Annie for her opening song. Although she was demurely situated centre stage and seated on the floor, certain sections of the audience would not have seen her due to the MD stood. I wondered if you had considered seating her on a bed, or if these were too far upstage, utilising the wicker basket where she could have sat with Molly before perhaps the other orphans slowly came in to form a group image around the basket. This would have given sufficient height for all sections of the audience to have enjoyed her performance in the song. Again, there was a danger of such blocking in ‘Tomorrow’ as Annie sat or knelt on the stage with the dog. Could she have sat/ leant on a ‘trash can’ or perhaps utilised the park bench where Bree could have sat with her at the same level which I presume was your intent. Later in Act II you stood her on a chair in the Cabinet Room so allowing everyone to see her. As Miss Hannigan joined the girls walking stage left to right, we lost her face with her back to the stage left side of the audience. Perhaps if she had used her height and walked around the back of the orphans, she would have maintained audience sight lines. On page 90, Rooster was blocking Lily slightly for the revealing of their identity to Miss Hannigan. In trying not to reveal faces we lost the body. To alter heights, perhaps he could have sat feet on desk once revealed to be Rooster, so reinforcing his normal character. You created some powerfully strong images which generated varied moods: – a sweet one at the end of the first scene with Annie sitting - legs hunched up; humour as Molly fell into the laundry basket to end Hard Knock Life - the orphans showing good well-rehearsed timing here. I enjoyed the orphan group eavesdropping at the conversation between Miss Farrell and Hannigan. The regimentation as the orphans making a straight line for Hannigan suggested that sense of military servitude under a strict commander. I enjoyed the cabinet stood around the president to complete the song. Miss Hannigan, Rooster and Lily projected that necessary degree of sassiness as they danced ‘Easy Street’ -the dance moves nicely suggesting a coarseness and commonness with the high kicks. I liked the way they leaned on each during the song and central staging. Wisely you used Alfie’s maturity and deeper resonant voice to portray the ‘larger than life’ Warbucks to compensate for his slight frame. So often he is depicted as a large, slightly over-weight or well-built fellow as if such provides presence and authority. I liked the opening strong positioning to start scene 8 with him side-sitting on the desk for his phone conversation with the President – he looked powerful. Also, to bookend the scene, placing Alfie in the same position demanding men for finding Annie’s parents. A similar business-like approach (Warbucks) was also evident in your direction of Isobel through acting and costume choices. Hair in bun, plain clothes and

a strict upright posture helped her to portray an efficient secretary/organiser of Warbucks – such continued throughout the production. I was unsure of the point and context of the painted scenery set stage left. The lamp made such look like a park scene but was it the garden and grounds of the mansion? The latter would make sense if Annie kept flitting out there. Although there was a nice tight focus, helped by lighting, on Annie which helped the audience to understand her feelings, could the same emotional impact not have been gained if she had remained at the desk with a follow spot. The park or garden bench seemed incongruous but the isolation worked well and we could feel for her to strongly to end Act I. Again, later, Warbucks and Annie could have danced in front of the lit tree – with a follow spot to close down the stage so giving them an intimacy and warmth that you generated stage left. All the big production chorus numbers were presented well. Individual one- line solos could be clearly heard with bags of energy in the dormitory. This attack was recreated in all the mansion scenes. Your choices ensured colour and vibrancy with good positioning of Annie, stood on a chair, whilst the servants danced and quickly answered Grace around her. As the introduction to Warbuck’s status and wealth, scene 5 needs vitality, speed, attack, flowing movement as chorus pass by as the song and Grace introduces them - all of which were suitably provided. This attack and attention to chorus acting was very evident in the Cabinet scene. I was pleased that you ensured constant acting in the background by the advisors around the table. Their facial expressions were excellent – especially surprise when asked to sing. This scene benefited from good volume, excellent cast interaction and super characterisation from them. Unfortunately for some reason the cast during the apple seller scene seemed a little on top of each other – people seemed to have little room around the cart. This led into Hooverville with varied groupings utilising the full width and depth of the stage -again little stories being told as the chorus warmed themselves around the fire or acted with each other, moving across in twos and threes in conversation. Plenty of movement to interest the audience. Although the song was crisply and clearly sung, for me it lacked bite and anger – a bitterness suggested by the words with Hoover for their plight in the shanty town. Sarcasm was lacking in dance, action, vocal and facial expression. Perhaps more stronger hand gestures and fed-up, angry faces were needed on certain phrases in the song. Your attention to development of characterisation was also obvious in the smaller scenes such as Miss Hannigan’s office. Cast spoke with good pace and expression – vocal and facial. Good body language for Lucy – perhaps she could have occasionally slurred some words or struggled with a sentence to match her awkward drunken gait and walk which she nicely sustained. Scene 4 and 7 in Act I worked well. I liked the positioning of Annie attempting to attract Grace’s attention. Sometimes I think you struggled with the size of desk in the orphanage office as there was slight blocking in these scenes – more-so when Rooster and Lily were on. Actors had to negotiate around it. The grouping of orphans in the office listening to the radio broadcast was good using different heights afforded by sitting on furniture. However, their visually funny antics using bottles as microphones and swirling around a boa did slightly detract from the action and colourfully visual feast in the studio. Perhaps they needed to tone down or occasionally freeze in tableau. Funny and enjoyable but slightly may have worked against the actors on the main stage. Another example of good characterisation was the transition by Lily and Rooster to the Mudges. Their adoption of Southern accent and posture, including slow walks

across the stage into the mansion suggested two simple, honest folk who wouldn’t hurt a fly. Excellent. However, Lily did block Rooster slightly from the stage right audience, and hats worn too low caused shadows on heads so we lost some facial expression. Generally, I did feel that Rooster needed a little more attack and volume to match the commonness of Lily. He needed a little more overt sleaze-ball or low level gangster brashness. For example. perhaps putting his feet up on the desk once he had shown Miss Hannigan his disguise. Perhaps there was a little scope here for caricature. At the start of scene 7 the orphans needed to more clearly show they were listening at the door of Hannigan. I particularly enjoyed ‘Easy Street’ which was a tight, well-rehearsed number, not afraid to use centre stage against tabs – lots of energy and cheek as characterisation clearly came through helped by the dance moves. I enjoyed the set design, costuming, dressing and overall colour brought to the radio studio – again a strong opening to an act. You had good placement of the groups, Boylan Sisters stage left, Bert and co – centre, with Warbucks, etc stage right. However, for me Bert needed a more distinctive voice or whine which then the orphans could attempt to replicate as they mimicked him. A little bit of fun was lost in their repeat of the song. More energy and perhaps over-the-top gesticulations were needed from him in scene 1. Lots of colour and movement during NYC with good interaction between Annie and Warbucks. Then we had a long musical interlude to black tabs which unfortunately did break the flow. Though perhaps the Christmas tree was causing problems. It definitely spruced up Warbucks’ mansion giving that lovely Christmas feel. Expressions on all the performers’ faces was generally good. Movement around the stage was purposeful. You made sure cast moved quickly and decisively, Characters were always on cue so providing excellent pace. You ensured the comedy came through for Miss Hannigan and during some of the songs. You enabled your cast to change tempo when needed, to provide different atmospheres and moods, to generate audience reaction, making sure emotions were clearly conveyed. The cast could be heard clearly and managed the dialogue well. Perhaps there needed to be a little more stressing on certain words and phrases to make meaning a little clearer in the scenes with Miss Hannigan, Rooster and Lily. Although some running across the stage behind tabs could be heard between scene 6 and 7 in Act II, I must commend the efficient, disciplined and silent manner in which the large chorus vacated the stage after a big number-especially all the maids and servants in Act II. No noise spillage at all - never easy getting everyone off after a big and exciting production number. All the scenes were well rehearsed. Lines were fluent and you had obviously worked on their meaning with the cast. Particularly impressive was the rich variety of characters you built up and developed through the cast performances. The actors always had good connectivity with the audience. Faces in the main were up and eye-lines never lowered. Expressions on faces were clear. A thoughtful and entertaining piece of musical theatre. So often we get a caricature Annie, a cute ‘doll’ like orphan where sweetness becomes cloying. Whilst there was room for a more down to earth approach which helps with a decisive girl having influence on Roosavelt and Warbuck, you didn’t fall into the demure innocent child too much. She has to be appealing for Grace to take

her back, but at the same time have a strength of character. Both of these ideals were realised. A super effort and well directed. Music - Musical Director - Alasdair Gordon Good use of the brass section throughout – especially the clear, clean and almost haunting trumpet lead for the overture which set the mournful yet upbeat theme of the music. Singing wise, some of the solos were lost a little in Hooverville and the number seemed to lack a choral attack in the anger of the singing: - syllables needed spitting out to reinforce hatred of Hoover. Perhaps a deeper bass tone was needed to give that hint of sarcasm. Generally though, you sensitively supported the main solos, orphans and Cabinet solos well – just occasionally a little loud. I enjoyed the clear diction and phrasing you had engendered from Warbucks and sweet notes from Annie, all guided and underpinned by a well-rounded and detailed orchestration. You made sure the mood of each song shone through the performances. All chorus numbers were handled well by the young people with attack, clarity and good timing with yourself. All chorus work had good volume and big numbers were confidently sung. It was nice to see performers looking at and being guided by you – a good skill for their future performances and evidence of good tutoring by your goodself. Choreographer Katie Fry Movement around and on the beds for the dormitory scene was lively with good synchronisation as orphans jumped on beds and used the floor to create varying height and pictures created. The orphans maintained enthusiasm and happy smiles in their ‘Hard Knock Life’ number Hooverville worked well with actions in unison, especially the footwork but for me sharper, spikier hand actions and cleaner turns would have helped with the staccato effect needed to make their hatred of Hoover come across. You effectively and cleverly moved a high number of chorus in the Warbucks’ mansion forming circles around the furniture -there was perhaps scope for different moves in the second visit and dance in scene 8. The chorus attacked their dances with gusto and generally precision was good- especially as children sidestepped across the sage with good synchronised arm movements. Utilising a small group of tapping maids worked well, and they worked well together as a small unit. One slight observation would be the manner in which you had some lines of children facing or at right angles to the audience. A nice move but repeatedly smaller children were placed behind taller, or perhaps more secure dancers thus making it difficult to see all the chorus in these types of arrangements. Parents want to see their children and perhaps some consideration should be given to asking taller cast members to be at the back of such lines. For NYC large circles were used as chorus followed each other around – there was good rotating movement and groups worked well together, though the train step was nicely realised, dancers looked a little bunched up stage left. I liked the moves utilised for Easy Street. Nice sassy shoulder movements and kicks suggested a club or bar type revue dance – sleazy - good energy with these three.

The Boylan sisters moved well together, simple hand movements out and shoulder forward into the microphone but effective moves to show their unity as a singing troupe. However, I felt that Bert Healy needed more movements, maybe just arm and hand which then could be replicated by the orphans later as they mimicked him. In all the dancing I only noticed one look down by an actress to check starting foot. This is to your credit that so many knew their moves, direction of travel and utilisation of energy. Well done!

Cast Please note that as this is an ensemble piece it will be difficult to give you each a defined commentary for all the various roles that you handled so well. In many cases the programme did not refer to some named parts in the libretto. As some lines were shared by different people, please forgive me if I attribute a comment to the wrong actor or actress - I am unsure sometimes the name of the actor or actress speaking. Suffice to say, I will endeavour to describe contributions as fully as possible and you may find me referring to your involvement directly under your name, by the clothing worn, or by a scene. You may also find comments about your good selves in other areas apart from your named critique. No insult is intended if I have not mentioned a role you undertook, but in general terms everyone made a vital and good contribution to the evening. Orphans As a group you worked very well together, always reacting to one another. Volume was generally good and expressions on faces suited to the script. I liked the cheekiness and brashness which occasionally was evident. Movement for dance and acting was purposeful; you went somewhere for a reason – you had emotional motive for well-delivered lines. The actions in the office during the radio broadcast were funny. I enjoyed the keen, nosy ‘listening in’ to conversation as Grace Farrell visits. You successfully gave the show that vibrant start any director would be proud of. Well done! Molly – Emily Marshall The sense of fright and nerves were clearly conveyed as you awoke from the dream. Constant expression throughout was a hallmark of your performance. I also applaud the constant energy you brought to all the production numbers you were involved in; dancing, cheekily imitating Miss Hannigan. A nice singing voice was evident on bright cheery solos in the Hard Knock Life refrain. I loved the total commitment; smiling, dancing and singing through You’re Never Fully Dressed orphan version. Given a prop, you were perhaps too funny during the radio show but please accept such as a compliment. Pepper - Charlotte Evans I liked the sneering voice on “we have a silver locket,” utilising good projection to portray a nasty approach. This was continued throughout, again shown on “so long dumbbell” with a nice degree of cool cynicism. You were constantly confident in song, dance and with general libretto. I liked the look of wonder at the Christmas tree

and presents. An excellent contribution to the orphan group who worked extremely hard. Well done! Duffy – Holly Hughes You always used a strong voice and could be clearly heard. Your mocking tones nicely gave us that sense of young people (in this case girls) having a teasing ‘go’ at each other. You made a nice start on page 88 to Never Fully Dressed orphan version. Good miming was conveyed later mimicking the radio show. July – Isabelle Pickup A nice accent was sustained with a secure confident playing, especially complaining at Pepper. We heard you clearly when singing – especially your solo verse in Fully Dressed Children. As with your fellow orphans, you provided lots of energy, smiles and reactions. Tessie - in programme listed as Jessie - Charlotte Gordon You showed the worry about sleeping very well. I liked the moaning when asked by Miss Hannigan to scrub the floor. Although having less lines than some of the other orphans, your contribution to the liveliness and attack of the acting in the dormitory was very good. Annie - Lily Ferris Well done – you didn’t give us a whiny voice. You gave us a strong character who, whilst sad at the loss of her parents and constantly thinking about them, at the same time cares for others, is a strong individual and will take the opportunity to leave the orphanage. Your songs were always clearly conveyed with good diction. Your good accent shone through the songs as well. Excellent concentration and emotion was maintained throughout the dialogue and singing - even looking after a dog which would have thrown many a person. You held the high notes well - all nicely sustained with good feeling for ‘Tomorrow.’ I especially enjoyed your command of such in the second half on page 21. Emotions were easily seen on your face with suitable sadness when Warbucks is unsure of accepting her and wanting a boy orphan. You displayed a nice smile during Warbucks solo and good angst conveyed when he wanted to take Annie’s locket. The sadness and at the same time, the realisation one must carry on, was conveyed well on page 127 scene 6 “Silly to Cry.” I liked the deferential tone to Roosavelt to underpin his authority. Your made sure Annie’s bravo mentality cracked a little when told her parents were dead. I liked the sarcastic laugh when Miss Hannigan pleaded to Warbucks. You constantly held your head up and maintained good eye contact with cast and the audience. A very natural, confident and clearly spoken interpretation. Well done!

Kate – Eve Iddon With less lines than some of the other orphans you still managed to contribute fully to the group . The sense of worry given when you said “And lock you in the cellar again,” was very good. This is important because your lines and fear help us to form a mental picture of Miss Hannigan. I liked the excited “Holy cow, Annie on the radio,” totally in disbelief. A super contribution to a well-rehearsed group of orphans. Miss Hannigan – Lucy Grogan Playing a drunk is never easy and you managed to keep her awkward gait and drunken walk going the whole evening. Although you spoke clearly, you perhaps had more scope to slur words and, or speak in occasional wrongly stressed emphasis. Good anger was shown on “shines like the top of the Chrysler Building” (page 9) and a nice hatred of the orphans developed in Little Girls. You did lots of little things or moves well which when combined, nicely fleshed out your character: use of props in ‘Little Girls’ song, the hand on hip and laid-back approach as you marched the kids into the mansion, and the hurried hiding of the bottle as Ward entered (page 32). Perhaps you needed to sweeten your voice a little more when talking to him, her false attempts at innocence then showing guilt and her duplicity. So, a little more variety in vocal tone needed here, perhaps you needed to elongate the words, especially on “poor pumpkin out in the freezing cold” to show such false concern. There was a good change to a nastier voice to Annie on, “have your head…. are you glad to be back?” (page 33). Excellent panic was conveyed when Grace Farrell says, ”and the New York Board of Orphans” (page 34) and excellent pace provided with Grace in scene 4. I liked the desperation in your voice on ‘she’s a drunk and a liar,’ when talking to her, and the good sullen expression as she whisks Annie away. For scene 7 – a lovely contained insolence on “how nice how wonderful” with Grace, plus good anger later. I enjoyed the confident dancing in ‘Easy Street. Overall, a good characterisation, well thought-through with nice little touches to provide the villain of the piece. A super controlled performance. Bundles – uncredited in the programme I loved your frightened look as Miss Hannigan put her arm around you – nicely done which made us instantly realise how offended he was and how creepy she was. Clearly heard, you provided an ideal escape plan. A good bright and cheery voice was correctly used. Well done! Apple Seller, Dog Catcher and Assistant Dog Catcher – uncredited Hooverville men, women, Sophie All could be clearly heard. Good timing with lines and walks across the stage. Nice sarcasm from the apple seller in Hooverville, looking suitably fed-up regarding not selling apples. I was pleased to see lots of little stories being told with good expression and interaction with each other. Chorus numbers are important as

important plot development and contexts for principals’ motives are given. All the dance moves were in good synchronisation. Ward – uncredited in the programme Suitably forthright and officious you made sure we knew the man was doing his job regarding the threat of making sure the dog was on a lead. Your “Call him,” was strongly projected with a firmness to the voice. Good accent helped by a confident performance especially with Miss Hannigan returning Annie to the orphanage. Authority came across well telling Annie not to run away. I like your smile when Sophie said, “you should have been a politician.” Grace Farrell – Isobel Coughlan You showed both sides of Miss Farrell; firstly the organised secretary. You always kept a straight, upright posture to accentuate a no-nonsense, business-like approach. Determination and a ‘don’t’ mess with me’ attitude instantly portrayed. I liked the hands clasped together pose on “It’s Annie I want,” visiting Miss Hannigan. A commanding presence in the scene 5, ‘I Think I’m Gonna Like It Here’ number with confident singing. There was good well, rehearsed interaction with the mansion personnel. Later, you were happy at the party and displayed an excellent glance of concern when Warbucks tells Annie the Mudges were not her parents. You always spoke clearly with good diction. I appreciated the manner in which you were Warbucks’ equal which is necessary to show his reliance on her. The hint of love nicely given in voice near the finale. A strong and confident portrayal. Drake – James Burrell You utilised a good upper-class accent. Clearly spoken, you could always be heard. Nicely annunciated vowels helped. You maintained a suitable butler pose with hands clasped. Pose and stance (excellent to begin Act II scene 4) are all important and give major signals to an audience, especially when line opportunities are few. Well done in this regard. Concentration was constant and an earnest expression to please. Nicely subservient voice to Warbucks. Well done! Mrs Greer – Grace Elcock Mrs Pugh - Emily Ridgeway clear voice on “baked Alaska” Annette Bethany Grogan Cecile - Samantha Divers and all maids and servants. The organisation in these well-rehearsed dance scenes, and general movement was smoothly provided. Carrying gifts, props, answering Grace or generally doing little jobs, the colour, vitality and general business of Warbucks’ mansion was nicely brought to life. Attention to detail and good concentration evident as it is always difficult to come in on cue with a one liner contribution. As a chorus you showed excellent discipline in exiting from the stage-especially in Act II. I also liked the action of the waitress who, after offering drinks, sipped from the last glass on her tray. You all smiled, danced, acted and sang very well. Super! Warbucks – Alfie Harris

You used a deep voice to provide the busy and bossy industrialist. Your tone of voice told us he was not to messed with; a demanding, constantly working man with an agile mind. This introduction was nicely achieved and helped to clearly show the comparative nervousness when seeing Annie. You clearly displayed Warbucks’ frustration with himself due to his own lack of understanding of how to deal with children, especially Annie (page 51) – essential to the relationship with her -and we saw this in scene 8’s song ‘Why Should I Change A Thing? A clearly sung continuation of his indecision. I liked the natural movement as you walked away (stage left) on “first million” - the admission difficult, then returning to her with good phrasing in his climbing over people speech. (page 74). Your expressions were constantly good, such as the clear upset when Annie does not want to remove her old locket. You utilised a rich, deep voice in libretto and song with a sense of controlled power -even occasional anger in the phone call to start scene 8 -his authority and decisiveness on phone calls to the President clear. Nerves at reading the script to begin Act II were perhaps over-exaggerated but funny. I was very pleased to note your excellent stage awareness and craft when you realised (stood stage left) you were slightly blocking the cabinet. Aware of such, you stepped back so they could be seen. Excellent. You made sure Warbucks was excited at the party. I enjoyed the worried look as Rooster and Lily, as the Mudges, made their claim. Your forced happiness at the toast to Annie and her new found ‘parents’ was sad – especially as you urged everyone to be happy. Later the duet and dance with Annie was handled well, sensitively never overpowering her in the song. An excellent contribution to the production. Star to be - uncredited You sang clearly and really owned your verse. You had excellent eye contact, and from your face we understood her hopefulness to drive her on. Very good. You just looked very confident. Lily – Robyn Valentine I enjoyed your super Southern accent, intonation with slow simple voice and the way you held your body, slowly walking on as Shirley Mudge in the mansion. Playing two characters is never easy, and you successfully also gave the scheming Lily. Although you nicely gave us the commonness of the woman, you perhaps needed to reinforce her poor ability to reason or know anything. Perhaps staring out dumbly on lines like, “I’m named after the hotel,” or even excitedly giggling the line very proudly. You may have gleaned more comedy here. Still, your characterisation was good. And you played the Mudge comedy very well with good emphasis on lines. The song needed a little more attack in the verses and with slightly more volume. However, you belted out the chorus with a nice smile and more confidence, obviously enjoying the number. With good dance moves, you sold the song well-especially the reprise. Careful looking down to check dance moves here. Be confident - you danced it well. In the mansion I enjoyed your stunned “tomorrow morning” - shocked surprise evident. I liked the detail in the hands, clasped in hopeful subservience to Warbucks.

Rooster - Daniel Gordon You provided a nicely sustained, larger-than-life character, using a super accent for Rooster. At times, a little more projection and clarity was needed in the voice. Singing was louder. I particularly enjoyed the use of body language as Ralph and your Southern accent, so presenting him with good comedy skills. The demure, innocent and simple homely character came across very well. Your dance was handled well. A confident performance. Roosavelt - Jack Hobson A decisive leader came across. There was a good ordering of the Cabinet to sing. Nice authority in the voice here. I also appreciated the sensitivity in the vocal control when informing Annie her parents were dead. Throw-away joke lines were also well delivered. The upbeat intent was very apparent in mannerisms during the Cabinet scene after hearing Annie sing. Bert Healy - Oliver Barlow Good expressions and attack were shown in the song. A nice smile to the microphone and good reactions to Warbucks’ poor attempts to speak. The look and feel of the radio scene was excellent and you helped to provide an exciting, colourful and pacy start to Act II. Boylan Sisters Samantha Divers, Grace Elcock, Laura Jane Broughton The singing was good and together held in tune. I liked the unity of movement as you danced and moved shoulders in to the microphone. Such has to look ‘easy’ and comfortable which it did. Nice smiles and ‘happiness’ were executed very well. You just looked and moved in a style that emulated singers such as the Andrews Sisters. Excellent! Wacky? Although not credited in the programme I thought the constant smile and concentration on the actress waving the flag was excellent. Cabinet – names not matched to characters in programme so collectively; - David Williams, Jack Broughton, Izabel Johnson, Daisy Parton, Hannah Crossley Benjamin Buckley A lovely team constantly acting; talking, taking calls - all attacked with super

energy and concentration. We heard the urgency in the vocal tones -

accompanied by strong facial expressions.

Well done to Harold – his insecurity regarding Roosavelt’s request to stand up and sing was clearly conveyed. Then, each in turn, disbelieving of the need to sing,

hesitantly joining in. A nice sound in the song – followed by excitement at their new projects after the song. Perhaps Hull (who had good facial expression) needed to be a little louder “defeat us in war” - and excellent actions from Perkins, who could be clearly heard. I really enjoyed the total commitment and unselfish playing from everyone in this scene. Super little piece of theatre. General Chorus Everyone was busy here, all acting, dancing, chatting and adding to the overall idea of a context in all the songs presented. I have already alluded to little stories being told – which you all did. Everyone looked confident, moved with a purpose, smiled and contributed to a successful show.

OVERALL ACHIEVEMENT (or CONCLUSION)

An excellent understanding of the author’s intent. Direction which shows skill, originality, sensitivity and creativity using all the theatrical tools of pace, focus, delivery, timing and rhythm.

Talented actors creating highly effective dramatic impact.

Evidence of teamwork and unselfish ensemble playing.

Actors who interact and react and a production team who use all resources to create atmosphere and mood.

Constantly good movement around the set ensured variety in the playing. Everyone had lots of energy. The strengths of the young people were stretched and used to good effect. The dialogue zipped along, the production had pace and everyone had good well-rehearsed timing with each other. For me, the Cabinet was just one example of unselfish performers/ performances who and which contributed to a ‘whole’ effect and feeling – constantly replicated through dance and song. Lighting and sound worked well so contributing greatly to the presentation. Staging, set dressing and costume delivered context well and good background images. One, perhaps unrelated, observation would be that not everyone who had a speaking part or singing solo was credited in the programme, and so their contribution was not individually acknowledged. This is a shame and seemed inconsistent – especially when some with fewer lines were individually credited. In addition, with group pictures, it is difficult to match face to a list of orphan names. Perhaps a ‘from the left’ or words to that effect aide is needed. I was also surprised not to see the authors listed on the front of the programme – yes given inside - but not the usual practice one sees. Nice to see parental and friend messages inside though. Although there was room for a little more defined characterisation in a few roles and some slight blocking issues, this was a well-directed production where Joanne had marshalled (sorry) all the different departments, and ages and skills of the youth into one cohesive, brightly presented and very enjoyable show. Generally, all the characters shone through. My apologies for the delay in sending this adjudication. Well done to all!

Adjudicator (print) D. B. Carlile

Date 04.11.17