‘Tomorrow’ is here for Annie

Although Annie Warbucks ran off-Broadway in 1994, and a cast recording was released on the Angel label, it is not a widely known property. Because its profile has remained somewhat low, the show is thought by some to be inferior, but I believe the story and score are as strong as the original.

The creators of the original Annie — Martin Charnin, Charles Strouse and Thomas Meehan — are also responsible for Annie Warbucks, retaining one song each from the original and from Annie 2, which died in 1990 tryouts in Washington, D.C.

Annie Warbucks is an infinitely better show than Miss Hannigan’s Revenge — the other sequel disaster. It has all the charm of 1977’s Annie and several truly solid songs. The colorful show, now at the Walnut Street Theatre, is both festive and family-oriented.

As it begins, Annie and all her orphan friends have been adopted by Daddy Warbucks and are living with him in his mansion. However, their happy life is tested when Oliver Warbucks is set to wed the money-hungry Miss Kelly. Annie wants Daddy Warbucks to marry his secretary, Grace Farrell, and have nothing to do with the gold-digger. There are secret plots, runaway orphans and brides around every corner. Who will marry Daddy and become Annie’s mom?

This handsomely dressed Annie Warbucks is a treat for those of us who have seen Annie umpteen times and love to pursue the adventures of the little orphan that could. It is fresh with lots of funny lines, a wonderful cast, a lovely score, and bright, clever lyrics.

The Walnut Street production is assembled with the professional skill of veteran director Charles Abbott, who keeps the show moving and balances his stage nicely, painting some very pretty pictures with his actors. His sure-handed work is smart and quick-paced and his chosen cast delivers a solid performance throughout.

The sequel has a great Annie in Andie Belkoff. She’s cute and blessed with a sturdy, attractive voice and a natural charisma and, overall, is a totally captivating little actress. There’s no doubt that this evocative young lady is destined for a successful theater career.

The musical begins with the final scene of the original Annie, with most of the principals assembled in Daddy Warbucks’ mansion on Dec. 25, 1933, for a final chorus of A New Deal for Christmas.

Warbucks’ adoption of Annie seems complete, and a holiday celebration is underway. But the festivities are interrupted by New York City child welfare commissioner Harriet Doyle, a comic villainess who easily could rival Miss Hannigan. Harriet is played with slumpy, grumpy relish by Alene Robertson, who did the original off-Broadway run. She directs Daddy to find a wife within 60 days, or it’s back to the orphanage for Annie.

The obvious choice is right under Warbucks’ nose, in the person of his young, attractive secretary, Grace (Amy Bodnar). To press the point, Annie and the service staff, headed by the fine butler Drake (an impeccable Lee Golden), sing That’s the Kind of Woman.

Daddy, however, is convinced he’s too old for Grace, explaining why in the lovely A Younger Man. Eventually, he falls — or thinks he falls — for the more seasoned Sheila Kelly. She’s played by Mary Martello in a gleeful comic turn and she’s a revelation, particularly in her mean, rousing duet with Robertson — Leave it to the Girls.

Will confirmed bachelor Warbucks marry? And, if so, will it be to his longtime assistant Grace or to one of the list of eligible women proposed to him by Commissioner Doyle? Complications, needless to mention, ensue, not the least of which being a subplot in which Annie runs away from home. Much like the original Annie, this story has some neat plot twists.

Patrick Quinn is a natural as the billionaire Warbucks. He sings well, moves with confidence and cuts an impressive and likeable image onstage. He has lots of help from a strong supporting cast. Golden is in exceptionally good form as the butler. John Charles Kelly shines as FDR, and Dan Schiff does nicely as the watchful lawyer, Simon Whitehead. No one will quibble about the happy bunch of orphans; each little miss makes a positive contribution.

Charles Kading’s cartoon-like set design fits the script, but I prefer more substantial scenery. Nothing could be more delightful than Sherman Frank’s sparkling music and vocal direction — a joy unto itself.

Annie Warbucks
Through Oct. 24
Walnut Street Theatre
825 Walnut St.
Tickets: $10-$65
215-574-3550
www.wstonline.org