Inspired by the Depression-era comic strip “Little Orphan Annie,” the 1977 musical “Annie” has always been defined by shiny optimism and soaring money notes. Both come through in torrents in the show’s most recent revival, which heads to Madison Square Garden and then a national tour following its stint through Dec. 1 at the Chicago Theatre.
As it follows the wholesome adventures of the titular orphan in 1933 New York City, “Annie” is a feel-good, deeply romanticized tale of a plucky little girl who charms billionaires and the homeless with equal panache. You know from the iconic opening notes — a solo horn, sending the opening volley of “Tomorrow” over the audience — that everything will end in coziness, warmth and safety for Little Orphan Annie. That’s a tale that perhaps a lot of people want to hear right now.
But Charles Strouse’s delightful, Tony Award-winning score aside, “Annie” has no depth behind its glossy, comforting surface. Directed by Jenn Thompson, “Annie” is rock-solid in its commitment to the comic’s rosy take on orphanages, homeless encampments and the U.S.
of A. as a place where billionaires (in this case, industrialist Oliver Warbucks) are so powerful, the FBI and the president both do their bidding on command. On a set framed by the Brooklyn Bridge (wonderful work by scenic designer Wilson Chin) “Annie” begins with the titular heroine (Hazel Vogel) in the orphanage, caring for the younger girls while navigating the .
