Reviewed by Judy Richter
It's almost old enough to qualify
for Social Security, but "Annie Get Your Gun" still seems fresh,
especially in the production by Broadway By the Bay. With music and lyrics by Irving
Berlin and a
book by siblings Herbert and Dorothy Fields, "Annie" was seen as a vehicle for Ethel
Merman, who
played legendary sharpshooter Annie Oakley in the original 1946 Broadway
production. Over the years, the story became a bit creaky, but Peter Stone's revision for the 1999 revival
starring Bernadette Peters brought it closer to modern sensibilities.
The
songs, however, are ageless -- gems like the anthem "There's No
Business Like Show Business," plus "Doin' What Comes Natur'lly," "The Girl That I
Marry,"
"You Can't Get a Man With a Gun," "They Say It's Wonderful," "Anything You Can
Do" and
"I Got the Sun in the Morning." Stone's revision, being used for this BBB
production, drops the politically incorrect "I'm an Indian, Too" and makes the musical a
show within a show orchestrated by Buffalo Bill Cody (John Musgrave). The BBB opening also uses
twins Khail and
Nik Duggan as
roustabouts. They're the sons of John Duggan, who lends dignity to the role
of Chief Sitting Bull.
The
real stars of this show, however, are Equity guest artists David Sattler as Frank Butler and Virginia
Wilcox as Annie
Oakley. Both know exactly how to deliver a song, and both have charismatic
stage presence, especially the vivacious Wilcox. They also have good chemistry
for their characters' love story.
Supporting
players also are noteworthy, especially Musgrave; John Duggan; Cameron
Weston as
Charlie Davenport, manager of Buffalo Bill's Wild West Show; Dominique Bonino as Winnie Tate, part of the
show; and Don Cima as Foster Wilson, a hotel manager, and as Pawnee Bill, owner of a
rival western-themed show. Amy Nielson does well in the villainous role of Dolly Tate,
Winnie's older sister and Frank's assistant, but she's overmiked, making her
too shrill at times.
Young
people, some probably high school students, dominate the ensemble. Their
dancing isn't quite as crisp or inventive as BBB audiences have come to expect
when resident choreographer Berle Davis choreographs a show, but this time his associate, Jayne
Zaban, is in
charge of the dancers. Director Alex Perez keeps the action focused and
moving, thanks in part to the set from nearby Foothill Music Theatre, which staged the show last
summer. The colorful costumes come from The Theatre Company. The lighting is by Michael
Ramsaur and Chad
Bonaker, the
sound by Bill Carrico. Musical director Mark Hanson has trained the singers well, but the orchestra,
especially the trumpets, sounded ragged at times. Nevertheless, the show is
terrific, especially with Sattler and Wilcox as the leads.
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