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That
lovable little orphan, Annie, is back in town. Courtesy of the Sparkle
Stage Set theatre group from Headington, the Broadway musical imports
its feelgood factor across time and the seasons and the Atlantic with
the help of a large local cast of eight- to eighteen-year olds. But
can cheerful redhead Annie, who melts the heart of gruff Manhattan
billionaire Oliver Warbucks one Christmas in 1930s New York, do the
same for a summer audience of (grand)parents and under-12s in twenty-first-century
Oxford, England? To paraphrase: You Think She's Gonna Like It Here,
at the Old Fire Station?
The self-funding and non-profit-making Sparkle troupe, directed by
June Surrage, have set themselves a seriously tough challenge: comedy
acting with its almost pantomimic movements and OTT tones of voice;
songs written for professional vocal ranges; period props and costumes;
a great number of scene changes; swingin' dance routines... and all
in American accents, too. In the urchin's own words, It's a Hard-Knock
Life.
But where the Manhattan skyline at night, or the grim dank walls of
the orphanage, or Warbucks' ballroom-sized living-room, are evoked
using simple backdrops and props with nice touches of imagination,
stage presence - especially of very young actors - can't be conjured
up as easily. That, in addition, often lengthy scene changes conspire
to disrupt the narrative flow and excitement, well, It Ain't Fair.
Sparkle in fact best live up to their own name in the dynamic ensemble
pieces, when the added voices and harmonies energise cast and audience
alike. Feet tap in time, and no-one at all needs a wee-wee for a while.
Solo singing, on the other hand, highlights the self-consciousness
and small voices of the young performers, but is carried off strongly
and confidently by Lucy Birtles/Rachel Johnson as red-Afro Annie.
Equally impressive are Jenni Middleton as Miss Hannigan, the old soak
of an orphanage keeper, and Warbucks' secretary, played by Rhiannon
Mosson. The villain, wobbly on her high heels and hard liquor, throws
her weight around beautifully with her helpless tiny charges, only
to simper and bat eyelids at Warbucks, everyone's meal-ticket. In
direct contrast, Grace Farrell is interpreted as a wonder of blushing
neatness, little fastidious gestures and real willpower underneath.
Tom-morrow, Tom-morrow, as their fellow ragamufins and shysters relax
into their parts, the musical about family love versus the fast buck,
about optimists versus doom merchants, will undoubtedly come Together
at Last. It will provide heartwarming family entertainment for - and
by - the local community. Parents will get to hear an alternative
take on the inspiration behind Roosevelt's New Deal and the whereabouts
of the Mona Lisa. Children will (re)discover a fairy tale complete
with sassy actrices, temperamental smoke machine and Sandy the "dog".
Brilliant, says the little girl in the row below.
TOM
GENRICH 27/08/02
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