As someone who fell in love with Annie as a child—watching it at the cinema, singing along and knowing every line, every lyric, and every character, intimately—this reviewer came to Mossley AODS’s production with both deep affection and high expectations. A lifelong fan of the original movie version, I’m well aware that the stage musical differs in places—some of the iconic songs are swapped out, the pacing is different—but at its core, Annie remains a story rooted in resilience. Set against the backdrop of the 1930s Great Depression, Annie’s journey from a grim orphanage to the luxurious world of billionaire Oliver Warbucks is a stirring metaphor for hope amidst hardship. The character of Annie stands as a beacon of optimism in a world clouded by economic despair which is sounding like a modern-day motif.
Mossley AODS has a well-earned reputation as one of the Northwest’s most accomplished amateur theatre companies, with an impressive back catalogue and an award-winning history that precedes them. This reviewer arrived at the George Lawton Hall for opening night with excitement and trust in the group’s capability to deliver. The auditorium was packed to the rafters, buzzing with energy and anticipation—mostly proud parents, siblings, and supporters—all ready for what promised to be a lively and memorable evening. The production team, under thoughtful and creative direction from their director Samantha Hughes, staged the show on an open set, cleverly utilising the floor space as a thrust staging with the audience seated around three sides flanking and immersing the audience into the story.
What’s the old adage? Never work with children or animals. Well, Annie has both—and in abundance. A special mention must go to Sandy the dog, played by the utterly adorable Sonny. Though a little distracted when his big moment finally arrived (who can blame him under the spotlight?), he was undeniably charming, drawing a wave of “aww”s from the audience that just wouldn’t stop. But it was the orphans who truly lit up the stage. Mossley AODS assembled a troupe of exceptionally talented and captivating young performers whose energy and confidence radiated from the floodlit stage. From their punchy, well-drilled opening number Hard Knock Life to the infectiously joyful You’re Never Fully Dressed Without a Smile in Act 2, these young stars had the audience clapping until their hands hurt and cheering with genuine admiration. Each child brought something unique: Tessie’s cheeky “Oh my goodness!”, Pepper’s bossy attitude, and the irresistibly cute Molly, (Eliza Egerton) who was an absolute magnet for the audience’s attention. At the heart of them all was Annie, the undoubted star of the evening—spirited, mischievous, feisty as they come with an endearing charm which melted the hardest billionaire. Sylvie Hoyle in the title role maybe small in stature and wore a, break from type, straight, red- headed orphan wig but her personality and singing voice was enormous. She was a joy to watch. Her characterisation and ability to communicate the depth of Annie shone beyond the footlights. Her dream of escaping the grim confines of Miss Hannigan’s wretched New York orphanage and finding her parents gave her, the orphans, and the audience, something to root for.
Miss Hannigan remains one of musical theatre’s most iconic villains – the horrible, drunken, chain-smoking matron of the orphanage where Annie and her friends are forced to live. There’s no love, no laughter, just bitter resentment and decay. Carol Burnett famously turned the role into a masterclass of grotesque comedy, and in this production, musical director Paul Firth took on the part with a Lily Savage-inspired flair. His Miss Hannigan was a crumbling vision of former glamour – physically expressive, weary, and worn by life. While the menace towards the girls could have been more pronounced, he certainly looked the part, sang well, and had crackling chemistry with Nick Ward’s wonderfully rotten Rooster and Molly Griffiths’s dazzling Lily St. Regis (named, of course, after the hotel). Their “Easy Street” number lifted the end of Act One with stylish showmanship, infectious energy, and slick choreography – with a few cheeky nods to the original staging that only enhanced the moment. The supporting cast, particularly Warbucks’s household staff, were enigmatic, excitable, and performed their roles with aplomb. The entire ensemble delivered a fabulous performance that honoured the spirit of the show while adding its own unique sparkle.
Rescuing Annie—if she ever needed saving—was the beautiful and elegant performance of Laura Meredith Hoyle as Grace Farrell. Offstage, she is Annie’s real-life mum, which only added to the genuine warmth and connection between them on stage. Laura looked every inch the 1930s New York socialite, moved with grace, and sang with a refined, classical soprano that lifted every scene she was in. Her wealth of experience shone through effortlessly. Opposite her, John Wood as Daddy Warbucks had gone all in, even shaving his head à la Albert Finney to fully inhabit the role. With natural charisma and a smooth Rat Pack-style voice, his rendition of NYC was charming and evocative, transporting us right into the heart of Depression-era Manhattan. Together with Annie, the trio had a wonderfully believable chemistry. Their scenes were tender, full of hope and affection—and when Annie turned down Warbucks’s offer of the locket, it genuinely brought a tear to my eye.
That warmth continued into the second act, with David Noble stepping into the role of President Franklin D. Roosevelt. His presence, alongside the Cabinet ensemble, brought gravitas and unity to a rousing version of Tomorrow that was spine-tingling in its optimism. Then, came the delightful shift into the world of radio, opening Act Two in the studios of Bert Healy’s Occident Toothpaste Hour. The Boylan Sisters (Phoebe Hewitt, Holly Mia Leech and Molly Griffiths) were, indeed, lovely—perfectly pitched and stylish—and were well supported by Bert Healy (Samuel Maurice) himself, played with flair (and a great smile), as well as the ventriloquist Archie played by George Devlin who made several cameo appearances each one notable and his dummy, who added an extra dose of charm and laughter.
The scene cleverly transitioned back to the orphanage, where the children once again stole the spotlight with, You’re Never Fully Dressed Without a Smile. It was everything it needed to be—lively, cheeky, heart-warming and, frankly, hilarious. One orphan, donning Miss Hannigan’s bra brought the house down. It was genuinely hilarious, and showcased just how well-directed and choreographed (Katherine Farrow) and character-driven this entire production was.
This was a delightful production of an absolute classic and audience favourite, and Mossley absolutely did it great justice gaining a full standing ovation in the bows. Their vocals, under the excellent MD’ship of Paul Firth and taught conducting John Barry; the talent on that stage. Add to that the clever staging and tight ensemble work, and you have a production that will linger in the memory long after the final bow. Annie continues its run at the George Lawton Hall all week, finishing on Saturday 3rd May. Don’t miss the chance to see this heart-warming and joy-filled show. Anyone lucky enough to get a ticket is in for a real treat. Get your tickets if there are any left from:
Annie at The George Lawton Hall event tickets from TicketSource
Reviewer: Kathryn Gorton
Reviewed: 29th April 2025
North West End UK Rating: