Twenty-five years later, York Light Opera Company returns to York Theatre Royal with a brand-new production of Annie, the much-loved musical.
For director Martyn Knight, this show marks something rather special: his self-declared
‘swan song’ after 22 years at the helm. It’s a fitting choice, and a reminder of the many ambitious productions he has steered to the stage over the years; Annie included, which arrives full of heart and nostalgia.
Of course, no production of Annie can shine without its young performers, and York Light’s teams of orphans are brimming with personality.
Watching the Yellow Team, there was plenty to enjoy: Sophie Helme’s self-assured Pepper, Elizabeth Reece’s gentle and sweet Duffy, and Emilia Cole’s scene-stealing Molly were standouts among an impressively confident group of eight young actors. The only real frustration was technical – sound balance issues meant that some of their best moments were occasionally lost, which was a shame given how much energy and character they brought to the stage.
In the title role, Hattie Wells (alternating with Hope Day) gave us a bright and optimistic Annie, full of determination and warmth. Vocally, Wells handled the iconic numbers ‘Tomorrow’ and ‘Maybe’ with assurance, but it was her acting that really grounded the performance. Annie’s story may be familiar, but Wells found sincerity in the role, making her journey feel heartfelt rather than merely sentimental.
Every heroine needs a formidable villain, and York Light favourite Annabel Van Griethuysen delivered exactly that as Miss Hannigan. Flouncing, scheming, and gloriously exasperated with life, she brought a real sense of ownership to the role, pairing strong comic instincts with characterful vocal choices. It’s a part that thrives on larger-than-life personality, and Van Griethuysen leaned into it with relish.
Leading the adult cast, Neil Wood’s Oliver Warbucks was a performance full of endearing charm and true authority. His developing relationship with Annie was genuinely touching, capturing the show’s central message that wealth and success can only buy so much, yet when love is earnt so is life’s true value. John Hall’s President Roosevelt also deserves a special mention, bringing enthusiasm and warmth to his scenes and creating a delightful onstage rapport with both Wood’s Warbucks and Wells’ Annie.
Musically, Paul Laidlaw’s direction ensured the orchestra delivered the familiar, feel-good score with confidence and colour. Numbers such as ‘Hard Knock Life’, ‘I Don’t Need Anything But You’, and ‘You’re Never Fully Dressed Without a Smile’ were highlights – the latter offered by Richard Weatherill’s entertaining turn as Bert Healy, complete with polished vocals and plenty of flair.
Visually, the production is ambitious. York Light have clearly invested in creating a world that transports us from the stark orphanage dormitory, the bustling streets of New York and the grandeur of the Warbucks mansion. The scale is impressive, though the complexity of the set occasionally made transitions feel a little clunky, and whilst the stage was filled with a large adult ensemble, at times energy dipped slightly in some of the less memorable show tunes.
And then, of course, there was Sandy. They say never work with children or animals, but York Light wisely ignored that advice. Primrose, in the role of Annie’s loyal dog, won over the audience from the very first appearance, even with a dose of stage fright, the eventual wagging tail was met with collective relief and affection from the crowd.
York Light’s Annie is a production that stays true to the original tale, celebrating the charm and optimism that have made it a classic. With a talented cast, memorable musical moments, and a clear affection for the material. It’s a warm-hearted evening of theatre and a fitting curtain call to Martyn Knight’s long and successful directing legacy.
Betcha bottom dollar and grab your tickets here.
Annie is at York Theatre Royal until Saturday 21 February. Tickets start from £15.
