Capital Region Performance Gallery

by Dick Frantzreb

It was opening night of El Dorado Musical Theatre’s production of “Annie.” At the box office, I watched a mother in front of me buy tickets for a daughter and friend who were to be dropped off for a later performance ― as if this were a kids’ show not worth the mother’s attention. What a mistake! Time after time, EDMT delivers the absolute best in musical theatre entertainment, and this show was no exception.

OK, maybe the mother knew that this was an EDMT “Rising Stars Production” ― the once-a-year show devoted to performers who have not yet entered high school. But it’s unwise to underestimate the abilities of young people, especially when they are full of natural talent and energy ― and are trained, coached and directed by true professionals. On this night, I watched these kids sing and dance and act, and I had to keep reminding myself that none of them were over the age of 14.

What sets an El Dorado Musical Theatre production apart from every other is the quality of the choreography. And when I say “choreography,” I mean not just dancing, but every kind of movement on stage. It feels like there is creative energy in every scene. And it’s always fresh and interesting. An EDMT show is a feast for the eyes as well as for the ears, and you can’t look away from the stage because the story is constantly unfolding in action that demands your attention. And what other production of “Annie” would include a kick-line of 20 orphans, eliciting cheers from the audience?

The big numbers in this production were so impressive ― “Hard Knock Life,” for example ― with 60+ kids performing in synchrony. Thinking back on it, I marvel that the youngest performers can memorize such intricate staging ― where they’re supposed to stand and how they’re supposed to move, what they’re supposed to say and sing. But in the midst of the performance, I’m so completely entertained that it doesn’t occur to me that I’m witnessing the development of self-discipline and self-confidence.

These shows are double-cast, and I saw the Times Square Cast: 60+ dedicated young performers. But I’d bet anything that the members of the Roxy Cast were just as impressive. One remarkable thing about the Times Square Cast is that Annie is played by 10-year-old Leighton L’Engle, whose singing voice and spunkiness just blossomed throughout the show. And it was her 14-year-old sister, Madeline, who played the role of Miss Hannigan, the comically abusive “warden” of the orphanage. I have to add that Madeline didn’t just act and sing (beautifully); she crafted a character that was fascinating to see in action, especially during the elaborately staged “Little Girls.” She made all of us laugh, and it was pure pleasure to watch her perform. And to round out the sisterhood, Sydney L’Engle was Grace Farrel, Oliver Warbucks’ right-hand woman, a part she played so perfectly that it was hard to remember that she was a 12-year-old and not an adult.

In fact, so many of these young performers were credible in adult roles ― but none so much as Brayden Bambino as billionaire Oliver Warbucks. His singing voice was remarkably mature and listenable, and he simply inhabited his part. He’s only 14 years old, and I’m looking forward to seeing his remarkable talent in 6 more years of EDMT productions and High Voltage shows.

And speaking of seeing more of an EDMT performer, it was great to see Ryan Van Overeem in the role of President Roosevelt. Not only did he do a solid job of channeling FDR, but this now 23-year-old brought back memories of his many outstanding performances that I’ve been privileged to witness.

For another veteran EDMT performer, this was Justin Harvey’s second outing as Vocal Director (following his debut last summer), and Justin’s efforts were reflected in both the spirited ensemble singing of the littlest performers and the rich ensemble sounds of the older kids. But as always, there were also excellent solo voices on display in this show. Besides those I’ve mentioned, I was especially impressed with the singing (and dancing) of Joey Baciocco (Rooster) and Julia Romero (Lily). Their trio with Madeline L’Engle in “Easy Street” was one of the highlights of the whole show for me. I’d love to see them do it again ― and again. Another highlight was the singing of the Presidential Cabinet, especially the tortured solos that started it off, only to culminate in a chorus of harmony. But there were so many highlights like these.

The principals performed beautifully, but it was also a delight to see others in the cast showcased as they delivered a line, or sang a phrase, or pulled off a dance move. These were peak moments for each set of proud parents in the audience.  But for the rest of us, it was refreshing to see each budding talent given the opportunity to take the spotlight for a moment ― a moment that they will carry through life with them, perhaps as a building block of future success as a performer. And let’s not forget another key performer: Annie’s dog, Sandy. “Jake” was a predictable show-stealer in this role, and every time he appeared, there was an audible expression of delight from the audience. And, heck, I have to admit he was as cute as he could be. Good dog!

I’ve said an EDMT show is a feast for the eyes, and the costumes are a big part of that. They seemed so perfect for each scene, and there were so many costume changes and such variety in the costumes. The backstage organization to pull this off is one of the many excellences of EDMT.

And while we’re talking about a “feast for the eyes,” a way in which an EDMT production exceeds every other you have seen is in the quality of Zach Wilson's projections. There are 3 levels of screens that accept an image: an upstage scrim, the proscenium, and a frame between the two. As used in the current show, this gave a 3-dimensional effect to the amazingly elaborate images of tenements, Times Square (with traveling-light marquees hanging from above), Daddy Warbuck’s mansion, etc. The bridge above the Hooverville scene even had animated billowing smoke.

Let’s not forget that “Annie” is fundamentally a great script, adorned with many highlights. For example, Oliver Warbucks, planning a dinner for President Roosevelt, instructs his staff to “Find out what Democrats eat!” And simmering with rage after being told by the orphans that Annie was on the radio, Miss Hannigan says, “Yeah, I know. Next thing you know they’ll make a musical about her.”

The genius of Director/Choreographer Debbie Wilson is that she can take a show, good as this one is, and make it so much more. Under her guidance, EDMT gives you the absolute best of what you go to the theatre for. There’s the theatrical magic ― projections, sets, costumes, choreography ― and the magic draws you in. And all of that is a canvas for a kaleidoscope of young talent.