Annie

From adoption to extortion, Fifth Avenue to Easy Street, the story of the little orphan Annie has established itself as one of the most perennially popular in musical theatre.

Its chirpy songs bounce on their rhymes like Noël Coward ditties, full of that distinctive Broadway sparkle, and its characters and situations have been spoofed by everything from Forbidden Broadway to Family Guy.

And yet there is something distinctly lacking in Chris Moreno’s touring production. Whilst its cast is strong, it allows so much of what is a rousingly optimistic score pass by without emotion or exuberance. Large-scale chorus numbers high kick like Ziegfeld Follies and yet childhood songbook numbers such as Tomorrow fail to connect with the musical’s spirit and belief. Even poor Sandy the dog looks as though he would rather be starring in Cats.

Thomas Meehan's book is as wet as the rag in Annie's bucket. Punctuated with the expected plucky child-actor calls of "Oh, boy!" and "swell”, its overly sentimental script now feels contrived and dated. Alan Miller Bunford’s dusty sets, too, look like they have managed to survive from the original production and its design wholly lacks a modern and polished sheen, an unforgiveable fact given how hard Annie mops the floors during A Hard Knock Life.

Despite these misgivings, the production is boosted by a decent ensemble and capable leads. As the boozy Miss Hannigan, Su Pollard is as colourful as a pencil case full of Penny Crayons, finding the tragic comedy of her character's mismatched matriarchy without becoming an alcoholic and cartoonish tyrant. David McAlister plays the role of Daddy Warbucks with the assured confidence of a white-suited Rockefeller whilst Simone Craddock’s wonderful secretary Grace maintains an Art Deco-inspired elegance throughout.

Perhaps tomorrow we’ll see an industrious, Daddy Warbucks producer type who will come to Annie's rescue, spend a few dollars smartening her up and raise the show beyond the fuzzy videotape it is becoming.