Booked & Scene

Wheelock Family Theatre’s holiday offering is Annie directed by Nick Vargas, the classic musical about a plucky orphan who’s ready to find family, hope, and a better tomorrow in the middle of the Great Depression. It’s a show everyone knows. Honestly, it’s one of the most “done” titles in the musical theatre world. And here’s the thing: I don’t exactly leap with excitement when I see Annie on a season lineup. It’s been revived, rewritten, reimagined, and remade so many times that it can feel predictable before the curtain even rises. But this production changed that for me. It’s warm, funny, unexpectedly fresh, and full of choices that actually make the story feel alive again.

A Billionaire and a Breakout Star

Sky Vaux Fuller isn’t just a strong Annie — she’s the kind of young performer who snaps your attention to center stage without trying. Her confidence, control, and charm never wobble, and she handles the emotional beats with the ease of someone twice her age. “Maybe” felt honest and grounded, and “Tomorrow” had the kind of lightness that reminds you why that song became iconic in the first place. She’s a joy to watch from start to finish.

De’Lon Grant brings a thoughtful Warbucks to the stage, and the tenderness he builds with Sky feels genuine. He’s warm without losing that polished composure you expect from Warbucks, and it works beautifully. “Something Was Missing” was rich and heartfelt, and their duet of “I Don’t Need Anything But You” was one of those moments where the whole audience collectively softened. They’re a duo you root for instantly, and their chemistry is the emotional center of the whole production.

Villains, Vocals, and A Very Good Dog

Shannon Lee Jones is a standout as Miss Hannigan, unapologetically chaotic in the best way possible. Her physical comedy hits every time, and she has a knack for making familiar jokes land like you’re hearing them for the first time. “Little Girls” was sharp and unhinged in exactly the way it should be, and the desk-drawer scream moment was peak silliness.

Cleveland “Mac” Nicoll as Rooster is her perfect counterpart. Their villain energy together is electric. “Easy Street” was a blast, and his Act 2 Canadian accent threw me in the best way. It’s fun watching someone swing big and actually nail it.

The young ensemble deserves real applause. They’re not just cute — they’re focused, funny, and fully in it. Their timing with Hannigan, their group numbers, and even their transitions showed a level of professionalism you don’t always see from casts this young. Maxwell Tate cracked me up as Harold Ickes. Britt Ambruson, Grace Etzkorn, and Melissa Paz as the Boylan Sisters had me laughing harder than I expected; the direction on that number had a wink to it that made it especially fun for the adults.

And then: Gideon as Sandy. A star. A king. A professional. I cannot wait for you to see my interview with him. He was charming, attentive to Sky, and absolutely basking in the treats and attention. Truly living his best life.

Why This One Lands

Nick Vargas’ direction gives the show a sense of momentum and personality. The stage is used well, the pacing mostly clips along, and the small character choices help keep the show from feeling stuck in nostalgia. Bert Healy’s weary energy, the Boylan Sisters’ wink-wink delivery, the rotating use of kids throughout scenes,  it all helps bring the world to life in a way that feels thoughtful rather than fussy.

The choreography by Joy Clark is, frankly, outstanding. Every group number pops. “We’d Like to Thank You Herbert Hoover” is layered and smart. The orphanage kick line? Electric. I genuinely had to stop myself from standing up mid-show. The staircase choreography for Sky and De’Lon was sweet, clever, and polished. There isn’t a single number that felt flat. 

I also keep coming back to the casting, because it genuinely reshaped how this story landed. Seeing Warbucks portrayed as an affluent Black man is  a simple swap that subtly reframes the world of the show without Wheelock changing a single line of dialogue. It creates a richer context around Annie’s journey, and it opens the door for conversations about power, opportunity, and visibility in a way the musical often sidesteps. This casting decision also allows young audience members, especially those who don’t often see themselves reflected in these kinds of roles, to imagine themselves in spaces of influence and possibility. That kind of representation hits differently in a period piece that can easily feel locked in the past. The casting doesn’t feel performative or forced; it feels thoughtful, specific, and grounded in the belief that classic stories can evolve simply by inviting different voices into them. It deepens the emotional arc of Warbucks, it enriches his relationship with Annie, and it gives the whole production a sense of renewed purpose.

A Few Clouds Over Tomorrow

Not everything hit the mark, and a few production details pulled me out of the world for a moment. There were a few scene changes that really slowed the pacing. Even with orchestrations covering them, the gaps were noticeable. Some mic issues popped up throughout the performance, with late cues cutting off the starts of lines or lyrics.

The mansion paintings were a clever idea, but the timing didn’t always work. Watching the ensemble hang them as scenes were already starting broke the illusion of wealth and polish they were aiming for.

None of these things overshadowed the strengths of the production, but they did stand out in an otherwise great production.

Bet Your Bottom Dollar I Liked It

I’ve seen enough productions of Annie to last a lifetime. I know the beats, the jokes, the choreography, the arch of every character. It rarely surprises me. But this one did. Between the new perspective, two fantastic leads, sharp direction, standout choreography, and the sweetest dog to ever trot across a stage, this production made the show feel meaningful again.

This was my first time seeing a show at Wheelock Family Theatre, and it definitely won’t be my last.

Annie runs through December 21.

📸: Benjamin Rose Photography