If the Tony-winning comic-strip musical Annie (1977) is considered a guilty pleasure, enjoying its much maligned sequel Annie Warbucks has to be the epitome of self-crimination. This ill-fated show, which was derailed by investors en route to Broadway in 1983 and briefly surfaced Off-Broadway, is generally regarded as a stiff. Yet the musical has its share of admirers—this humble critic included. In 1982, L.A. Times critic Sylvie Drake sent the pre-New York show off with a laudatory valentine of a review, and the subsequent New York notices were far more upbeat than the show's reputation suggests. How disappointing that a rare revival of this breezy confection falls victim to a woefully inept rendition.
The continuing saga of the optimistic orphan picks up at the precise second where Annie left off, with the last strains of the number "New Deal for Christmas." But young Annie's bliss following her adoption by billionaire Oliver Warbucks (Robert Reinhagen) is short-lived, thanks to the appearance of a new villainess, New York City Commissioner Doyle (Elmarie Wendel), who insists that Warbucks secure a wife if he is to keep Annie. The plot thickens with a dastardly murder scheme, a May/December attraction between Warbucks and his assistant Grace (Cara Loveless), and a political face-off between a Tennessee family and President Roosevelt (Gary Roderer). Thomas Meehan's serviceable book is essentially a formulaic variation on his original Annie plot, though it boasts moments of sly satire. The underrated score includes witty lyrics by Martin Charnin (Annie) and buoyant music by Charles Strouse (Annie, Bye Bye Birdie, Applause).
Unfortunately, the Grove production demonstrates how to kill off a fun-filled musical without really trying. As the original cast album's overture is played during an inexplicably long blackout, the early moments do not engender warm/fuzzy vibes. Then, as the lights come up on Frank Dickson's drab unit set and the cast awkwardly competes—sometimes in vain—to mesh their voices with the blaring recorded accompaniment, the omens become more foreboding. When it becomes clear that director/choreographer Terry J. Barto is opting for claustrophobic blocking and lethargic pacing, and includes excessive flailing of arms and sundry clichéd movements during every song, the presaged doom becomes all too real.
In a production that is saddled with milquetoast performances in its two larger-than-life lead roles (Reinhagen's Warbucks and Marina Nicole's Annie), one grasps for redeeming moments. There are a few. The production's strongest asset is the engaging Suzanah Kent, who, as a beleaguered social services worker with a surprise, eloquently belts out the poignant "But You Go On," and shares one of Wendel's few good moments in the hilarious duet "Leave It to the Girls." As the demure Grace, Loveless provides a gorgeous rendition of the score's best ballad ("It Would Have Been Wonderful"), though her portrayal is otherwise stiff. Among the youngsters, Amanda Tucci stands out as the cheeky country girl C.G., while Robin Steege-Grasso and Ken DeShan do creditable work as her sweet-spirited hayseed parents. Despite these compensations, we'll have to wait until another tomorrow for the sun to truly come out on this orphan of a musical.
"Annie Warbucks," presented by At the Grove Productions at Theatre at the Grove, 276 E. 9th St., Upland. Fri.-Sat. 7:29 p.m.. Sun. 3 p.m. Oct. 7-Nov. 5. $15-17. (909) 920-4343.