The Sun Came Out

Gee, I wonder what was playing at the Hollywood Bowl this past weekend.  With these stage effects, the question could be answered from outer space via Google Earth.

Yes, folks, this year's annual musical comedy production at the Hollywood Bowl was indeed "Annie."

Traditionally, the Bowl reserves the last weekend in July for their send-up of a classical Broadway musical and I've pretty much gone each year.  They started with basically concert re-enactments of the music but, with each passing summer, the staging gets more and more elaborate to the point where this is now very Broadway-quality.  Some past Bowl shows that I remember fondly?  "South Pacific" with Reba McEntire and Brian Stokes Mitchell.  "Mame" with Michele Lee.  "Hairspray" with Harvey Fierstein.  Two years ago, I saw a superlative production of "A Chorus Line" with many from the 2006 Broadway revival.

Sure, there have been some misfires.   "Rent" as directed by Neil Patrick Harris had zero energy.   And last summer, we were afflicted with "Mamma Mia," which had all the charm of a cesspool back-up.   

But, the Hollywood Bowl has restored itself in 2018 with a welcome revisit of the classic "Annie," which I must admit I saw originally on Broadway with...gasp...Sarah Jessica Parker in the lead.   Sarah and I were both much younger.  It's a fun, albeit sappy musical comedy, but it's got good humor, little kids, and a dog for God's sake.  What's not to like?  Director Michael Arden, who apparently did well this past year on Broadway with the revival of "Once On This Island," was entrusted with this "Annie."   Not only did he not mess it up, he virtually enhanced it with some energetic and innovative staging simply by using the letters of the logo seen above.

Of course, this is 2018 so every diverse box needed to be checked.  Every arc of the rainbow was covered with the little orphan girls.   The famed Star in Waiting actually arrives for her big solo in a wheelchair.   And, topping it all, was an African-American take on the legendary Daddy Warbucks.   Okay, the odds of the existence of a Black billionaire in 1933 America are historically high.   But, we're living in a world where any kernel of history can be easily rewritten.   The good news is that, as played by David Alan Grier, Warbucks seemed entirely realistic to me.

With these annual Bowl musicals, the casting is key.   Last year's mess of "Mamma Mia" had every threadbare C lister they could find.   But, "Annie" benefited from an influx of strong Broadway folks that included the always reliable Roger Bart and the always welcome Megan Hilty as Rooster Hannigan and Lily St. Regis.   Meanwhile, the famed Lea Salonga from "Miss Saigon" took on the supporting role of Warbuck's secretary and scored.   Hell, even Sandy the dog did a great job, despite appearing to be the oldest dog registered with SAG...the Screen Animals Guild.

Of course, the key to any re-engineering of "Annie" is the casting of the villainous and scenery-chewing Miss Hannigan and, this time around, Ana Gasteyer of SNL-fame got to chomp heavily on the backdrops.   She left nothing for anybody else to munch on.   She hit all the right notes and commanded the stage every time she was on it.  

I have always loved "Annie" for introducing the wheel-chaired President Franklin Roosevelt as a character in the show.   Here  FDR was played by Steven Weber of "Wings" fame and he captured the very essence of the President almost as well as perennial Roosevelt portrayers Edward Hermann and Ralph Bellamy.  I'm telling you.   The casting director on this thing really earned their comp tickets for this one.  Check out Weber and company in this reprise of "Tomorrow."   Forgive the shitty camera work.   It's not mine.

The Hollywood Bowl got a lot of publicity by having an open casting call for the roles of the girls in the orphanage.   Just go on You Tube and you will see the self audition tapes of those that made it and a lot who didn't.  Gee, if you're a ten-year-old actress in Hollywood and your mom didn't have you submit, it's time to call Social Services.

Given that the kids in "Annie" are all about ten and eleven, you have to forgive their tendency to punch a line to the point that it seems like they're trying to make a dent in a prison wall.   The same goes for young Kaylin Hedges as "Annie."   The girl sure could sing but her delivery of lines was sometimes just a hair off.   But, heck, I wasn't appearing at the cavernous 15,000 seat Hollywood Bowl when I was 10.   All the kids get a big, old hall pass from me.   And they were entertaining none the less.

The success of this production, like most of the annual Bowl musical comedies, always impresses me because they really only have two weeks to completely stage and rehearse the thing.   In fact, they spend most of that time putting it together in a nearby school gymnasium.  The fact that this one came out as flawless as it did is testimony to the hard work of the superlative cast and the talented director Arden.

Now, as I wrap up my review, I read the one written by the Los Angeles Times theater critic.   While he generally likes it, he can't help but compare elements of the show to what is going on around us.   Young children in an orphanage longing for their parents.   A Hooverville of poor and angry Americans.  And, oh, look, there's a President of the United States with compassion.

Oh, puh-leze.  It's "Annie."  First produced in 1977.   Based on a comic strip first drawn in 1924.   Let's enjoy it for what it is.   It's mind boggling how the LA Times can't get through a single article without showing their political viewpoint.   Jeez.   

I'd tell you to put this production of "Annie" on your list, but, like every summer's Bowl show, it runs for three nights and disappears into the drawer where you put all your programs.  You'll never see it again.   Not even...ahem...tomorrow.

Good job, Hollywood Bowl.   I can't wait to see what you try to pull off next year.

Dinner last night:  Salad.