Review: Annie - St. Patrick's Choral Society

Society name: St. Patrick’s Choral Society

Show name: Annie

Date of attendance: 18^th November 2025

It may well be the musical theatre equivalent of Marmite, with polarising views aplenty out there regarding its merits or lack of. However, I am a fully paid-up member of the ‘Annie’ fan club and a proud one too! It is a lot more challenging than some might give it credit for. With a need for a very talented cast of children, adult performers who understand the difference between caricature and ham acting, and multiple locations required, it asks a lot of any society prepared to take it on. St. Patrick’s Choral Society, Downpatrick embraced those challenges with great enthusiasm and very good attention to narrative detail, with their upbeat, highly energetic production at the Great Hall, Downshire Estate. It was a most welcome, uplifting evening that celebrated some excellent local talent, especially the cast’s younger members, many of whom were making their musical theatre debuts. 

The society’s front of house team did a lovely job in creating some magic for people arriving into the foyer space of this most unique venue, which dates back to the late 1800s and oozes character. The mood and tone were immediately set by the friendly, efficient volunteers who ensured that everything ran smoothly.  Colouring competition entries, submitted by local schoolchildren, were a lovely touch, bringing colour and a sense of community to the evening’s proceedings before the orchestra had even tuned up. The simple New York City ‘photo wall’, complete with a ring light, was another nice addition, as children (and adults!) took selfies against the skyscraper backdrop. 

Gary Warnock’s direction had great clarity and heart throughout. There was exceptional work done with the orphans, in particular. The excellent cast of children were confident and expressive and there was always a great sense of purpose to their performance, both individually and as a group. Storytelling was always to the fore, with good attention to the narrative in evidence all through the show. I loved the use of the different playing levels, which allowed for some very fluid transitions between scenes. There was great integration of projected backgrounds to enhance the overall visual spectacle and I loved the very appropriate black and white animated sequences which, though sparingly used, were a delightfully unique and clever touch, which added greatly to the songs in which they were used. A really strong piece of direction overall from Mr. Warnock.

Wilson Shields’s musical direction was one of the strongest elements of this production. His talented, seven-piece orchestra were tight and polished from the top of the overture to the final bows. Balance was generally good within the orchestra, although I did feel that more support was required from the sound operator during underscored dialogue to ensure that levels were appropriate. Tempos were well chosen and maintained throughout and there was some really standout vocal harmony work from the children, ensemble and smaller groups. The standout musical moment of the show for me, was ‘Easy Street’ in which Hannigan, Rooster and Lily harmonised flawlessly throughout their very energetic routine. Of course, there was some excellent principal singing also, with Hannigan and Warbucks leading from the front with their stunning vocals. A superb job from Mr. Shields on all fronts.

Alex McFarlane’s choreography was highly effective and perfectly pitched for the abilities of her cast, young and not so young. Ms. McFarlane’s attention to storytelling was most impressive, with props and authentic business built into routines, always making them an organic part of the narrative. Her work with the children was superb. ‘Hard Knock Life’ was so sharp yet full of expression and chaos. ‘You’re Never Fully Dressed Without A Smile’ was simply fabulous from all of the children. I loved the storytelling in ‘I Think I’m Gonna Like It Here’. The movement, timing and use of props were so well thought through and executed. ‘Hooverville’ was an impressive routine, with its sharp synchronicity from a well-drilled ensemble. ‘Easy Street’ was my favourite routine of the night, dynamic, slick and brilliantly performed. An excellent job all round, especially considering that this was an opening night performance. 

Lyla Edgar’s wonderful performance as Annie was confident and bright throughout. She had natural stage presence and clever delivery of dialogue, which felt beyond her years.  She was always in tune with what was going on around her, always focused. Vocally, Lyla was very strong and musically assured. ‘Tomorrow’ was the expected showpiece, sung with heartfelt warmth and longing. Phrasing was very confident and Lyla didn’t fall into the trap of belting to impress. My sources, who saw Eliza White in the role later in the run, informed me that she was equally impressive on all fronts. With a depth of young talent like this at their disposal, the future of St. Patrick’s Choral Society looks very safe indeed.

Fergal White’s larger than life Warbucks was a nicely judged portrayal. He avoided the temptation to descend into caricature, bringing an authoritative but surprisingly emotionally in tune quality to the role. This allowed for some wonderfully contrasting moments, from his no-nonsense bluster to his heartwarming interactions with Lyla. Mr. White’s singing performance elevated his portrayal even further, with his wonderful baritone voice providing many of the evening’s musical highlights. What struck me most though, was his generosity as a performer in his scenes with Lyla. Their scenes together were genuinely tender and their performance of ‘I Don’t Need Anything But You’ was as heartwarming as it gets.

Charlotte Warnock gave a very intelligent performance as a warm, likeable Grace Farrell. From her first entrance during the overture, she oozed confidence and competence. Ms. Warnock balanced concern and affection for Annie with her respect for Warbucks so well. Her beautifully clear soprano voice in ‘I Think I’m Gonna Like It Here’ was a delight. Diction was excellent and her harmonies throughout the show were always secure. A superb performance all round.

Initially, I felt that Laoise Carney’s delivery as Miss Hannigan needed an injection of pace, as pauses and cueing felt slightly delayed in her opening interactions. This could have been down to some opening night jitters or even just trying to gauge audience reaction for the first time. However, once she settled and got into her stride, Ms. Carney really took off, delivering an energised, thoroughly entertaining portrayal. Facial expressions and physicality were exaggerated but never too over the top and her comic timing shone as she warmed to the audience. Her stunning vocal quality, phrasing and control, combined with clever characterisation, made ‘Little Girls’ a standout moment of the show. 

Adam Patterson was a very strong Rooster, catching our attention immediately during his brief but impressive appearance in the overture sequence. He was quite the slippery character and relished in his enjoyment of playing one of musical theatre’s finest comic villains. He was an excellent dancer and his dance performance during ‘Easy Street’ was highly impressive. Vocally too, he did excellent work in this number, holding his line through every energetic dance move. Chemistry with Lily was strong and he played very well off Ms. Carney through their well-timed, hilarious exchanges. 

I was very impressed with Jess Sloan’s very funny performance as Rooster’s naive but bubbly girlfriend, Lily St. Regis. Her comic timing was very strong and we couldn’t help but like her, in spite of the shady shenanigans that she had gotten herself into. She had great physicality and moved very well in the brilliant ‘Easy Street’. Her ability to hold the top vocal line in that number was very impressive indeed and showed a superb sense of musicality. Diction was very sharp, ensuring that comedic lines landed cleanly. Herself and Mr. Patterson worked very well together, pushing the humour when required and pulling back to allow scenes to breathe, as required.

Tim Currie made the most of his cameos, particularly as President Roosevelt, a role that can be easily thrown away. Not so on this occasion, with Mr. Currie bringing a warmth and conviction to the part which was most welcome. Mr. Currie had great presence, excellent diction and a good feel for the pace of the cabinet scene in particular. 

Alan Currie’s singing voice impressed as Bert Healy. It was warm, clear and suited the 1930s style. His dialogue was clear but I felt that he could afford to lean more into the character’s performative flamboyance and give us more of his inner showman. He just needed to let go and enjoy the moment to elevate his performance from very good to excellent. 

Marissa McKittrick was a perfectly cast Star to Be. Her confidence, optimism and poise made her arrival in ‘NYC’ the impactful moment that it is meant to be. Her Broadway belt was perfect for the role and we were left in no doubt about her dreams and aspirations during her short but standout moment. 

Aaron McElroy played Drake with an understated authority. His calm and poise were a nice contrast to the bustle of the Warbucks mansion. Mr. McElroy showed impressive versatility in doubling up as Bundles, the jovial laundry man. A talented and reliable performer.

Lucy Moore, Grace McCartney and Abbie McCarthy brought delightful Andrews Sisters charm to ‘You’re Never Fully Dressed Without A Smile’. They looked and sounded wonderful, impressing with their excellent blend of vocal harmonies and synchronised movement.

There was great support too from Marie Therese Ross as Mrs. Pugh and Bronagh Reid as Mrs. Greer and Perkins. All other secondary roles were very well played.

The Team Brooklyn orphan ensemble, made up of Lasairíona Maguire as Molly, Skye Gracey as Pepper, Aoife Reid as Duffy, Alice Taylor as July, Eva Denver as Tessie, Aoife Martin as Kate and a host of other talented children, deserve great praise for their discipline, commitment and musicality. Their focus, facial expressions and interactions were always in tune with the narrative and they would have put a lot of more experienced performers to shame with their talent and polish. Excellent work from all. Again, my sources have been in touch to say that Team Manhattan was equally impressive throughout the week. 

The adult ensemble was equally impressive, making the most of their moments, whether as down-and-outs in Hooverville, government officials in Roosevelt’s cabinet or servants in the Warbucks household. They added great atmosphere to every scene, always focused and involved. Movement and choreography in the Warbucks mansion were clean and slick. Scene changes were not always as seamless but, as it was opening night, I have no doubt that these tightened up as the week progressed.

The set design was imaginative and functional, making great use of both the stage area and the lower floor level of the Great Hall. The NYC skyline was cleverly stylised, with a nod to the original animated source material. The simplicity of this background allowed lighting, minimal changes of furniture and props, and projections to transform the stage very quickly. The centre screen provided one of the show’s standout elements for me. The black and white animated sequences during ’Tomorrow’ and other key moments, were a beautiful touch. They were never too busy or distracting. They complemented the narrative and always fit the tone and mood perfectly. The tracked sheets for the orphanage were so simple yet highly effective in transforming the stage and the dropping of the red drapes for the final scene added greatly to the opulence, even if there was a slight technical glitch on stage left.

Alex Simpson’s stage management was generally slick and well-rehearsed. At times, servants were used as stage crew and this was an inspired decision which allowed many scene changes to be featured, rather than completed in blackout by black-clad crew. This helped momentum, giving us smooth transitions set in the narrative, with ‘staff’ rearranging furniture and moving pillars and ‘preparing’ locations in full view. Overall, changes were slick, precise and kept the show moving at a brisk pace. Well done to all. 

The lighting design was simple and functional throughout, making good use of a limited rig. There was excellent use of follow spot and some well-timed effects such as the red and blue for squad car lights and the nicely featured LX in the windows of the upstage skyscrapers. The searchlights in ‘NYC’ were another nice touch. Key lighting was generally very good, with no obvious dark patches on the mainstage. The floor area was more difficult to manage with the tight angles but the designer did well in coping with the physical restrictions of the venue. There was a missed opportunity to isolate the radio announcer, who looked like he was in the orphanage, and there was an occasional programming issue with moving lights sweeping across the stage before settling on their intended ‘target’. 

Sound was generally very good, especially given the amount of microphones in use for this very large cast. The vocal mix was warm and clear and cueing was surprisingly accurate at such an early stage in the run. Balance between cast and orchestra was very impressive during ensemble numbers. Things weren’t as successful during underscored dialogue sequences, however, where it was often a struggle to hear cast. That said, the overall sound design worked really well. The band was well-balanced, warm and full. The children’s voices came across strong and soloists were set at a perfect level. The balance for both the Boylan Sisters and ‘Easy Street’ was quite remarkable. Nice work from all.

I was highly impressed by some remarkable attention to detail from the props team. My inner nerd delighted in the use of a 1930s-appropriate American flag, with its 48 stars rather than making do with a modern day 50 stars version. It was a very busy show for the props department. Attention to detail was in evidence, with well-chosen suitcases, newspapers, general set dressing and, of course, Annie’s infamous locket. Buckets, rags and other paraphernalia were very authentic looking in the orphanage and desk accessories for Warbucks were perfect, as was the radio in the cabinet scene. Roosevelt’s wheelchair looked like it had just come out of a museum, such was its authentic look. However, there may not have been enough time to work on its practical use, as it didn’t behave itself on the night that I attended. 

Costumes were successful in general, adding greatly to the visual across the board. There was good attention to detail with the orphans’ outfits which were appropriately worn but not overly dull. Grace’s wardrobe was wonderfully elegant, giving a great air of professionalism and warmth. Warbucks’ suits were very impressive, well-tailored and conveyed a great air of authority. Rooster’s pinstripe suit was a standout piece which reflected his exaggerated personality. There was an eclectic mix of characters created for ‘NYC’, with the four ladies in headdresses and sequinned dresses being particularly well turned out. Maids and servants were impeccably dressed in their green and white uniforms. The only element that I felt needed attention was the Hooverville scene which, overall, I felt looked too clean and tidy in its costuming. 

Hair and make-up were generally authentic to the era. Wigs, where used, were natural looking and well fitted. Miss Hannigan was suitably dishevelled and servants were tidy and well presented. The only thing that needed attention, I felt, was the overall look of ‘Hooverville’. Hair appeared too tidy, generally, and the ladies’ style of make-up wasn’t entirely appropriate for the down-and-outs.

This was a most uplifting and enjoyable production, of which St. Patrick’s Choral Society should be very proud. With so many joyous musical and comical moments, it was a pleasure to attend. My main takeaway? The superb young talent that is being inspired and mentored so well by everyone involved. It was a show full of heart; exactly what I needed as I reflected on the lyrics of ‘Tomorrow’ on the long drive back. Congratulations to all.

Pat McElwain

Sullivan Adjudicator 2025/2026