Annie

Based on the long-running comic strip "Little Orphan Annie," this musical has nostalgic appeal, while its setting—the Great Depression—serendipitously reflects on contemporary economic woes. Above all, the show is an old-fashioned confection, featuring a lovable 11-year-old protagonist, a big shaggy dog, sprightly production numbers, and a happily-ever-after conclusion. Despite lapses, director Lewis Wilkenfeld's revisit of the Tony-winning 1977 Broadway tuner is reasonably entertaining.

Thomas Meehan's witty book and the sophisticated score by composer Charles Strouse and lyricist Martin Charnin venture beyond the realm of kiddie entertainment, incorporating the amusing foibles of adult characters, such as the blowsy, hard-drinking orphanage head, Miss Hannigan (a spirited Sally Struthers). The show's slyly satiric observations on capitalism and politics are best exemplified by ever-optimistic Annie's influence on President Franklin D. Roosevelt (Ronald Rezac), which leads him to launch his economic-stimulus program, and by the caustically funny group number, "Hooverville," in which homeless people around a campfire croon about their desire to roast former president Herbert Hoover, deemed responsible for their troubles.

In its more basic musical-theater ingredients—lighthearted humor and fanciful song-and-dance sequences—the production sporadically hits the mark. As the titular sprite, Quinn Allyn Martin boasts a strong and appealing singing voice, giving the show's most familiar ditty, "Tomorrow," its due. She's less effective at finding the ironic humor in her dialogue. Her overall take on the colorful role feels more restrained than charismatic. As the man in Annie's life—eccentric but kindly billionaire Oliver Warbucks, who takes her in and wants to adopt her—Norman Large boasts a splendid baritone voice, but he doesn't project sufficient warmth. As Warbucks' doting assistant, Grace Farrell, Christanna Rowader gives a serviceable portrayal. Rezac's characterization of blustery FDR is mildly effective. Dink O'Neal and Noelle Marion play two thugs who assist Miss Hannigan in a devious scheme. As cock of the walk Rooster, the limber O'Neal elicits fun from his broadly comic shenanigans. Marion's daffy bombshell Lily St. Regis is moderately amusing. The large chorus line of high-kicking orphans cavorts with glee in choreographer Heather Castillo's spoofy dance routines.

Music director–conductor Ilana Eden leads a boffo orchestra. The drab uncredited sets evoke a Depression-era frugality—even in the supposedly luxurious Warbucks mansion setting.

Presented by Cabrillo Music Theatre at the Fred Kavli Theatre, Thousand Oaks Civic Arts Plaza, 2100 E. Thousand Oaks Blvd., Thousand Oaks. Oct. 14-23. Thu., 7:30 p.m.; Fri., 8 p.m.; Sat., 2 & 8 p.m.; Sun., 2 p.m. (Also Sun., Oct. 23, 7 p.m.) (805) 497-8613, ext. 4. www.cabrillomusictheatre.com.

Editor's note: Dink O'Neal reviews for Back Stage.