Annie at the Royal Concert Hall, Nottingham.
1st September 2026.
There is a reason Annie remains one of the world’s most enduring musicals, and this latest UK tour, now playing at Nottingham’s Royal Concert Hall, serves to remind us exactly why. From the moment the orchestra strikes up the unmistakable overture, we are swept into 1930s New York, where optimism triumphs over adversity and every familiar song still feels as uplifting and fresh as the first time I heard it. I think this must be my third visit to see this show, and it never disappoints.
Annie is essentially the story of what happens when the world’s richest grump adopts the world’s most relentlessly optimistic orphan. Along the way there are crooked con artists, an orphanage run by a woman who really shouldn’t be left in charge of children, a very cute stray dog, and enough catchy tunes to convince everyone that tomorrow really will be better than today. It’s gloriously implausible, irresistibly heart -warming, and somehow makes the Great Depression feel like the perfect setting for a family musical.
June Young delivers a wonderfully assured performance as Annie, capturing the character’s resilience, warmth and infectious optimism. She possesses an impressive singing voice that shines in “Tomorrow,” while also bringing a natural charm to the quieter moments. It is impossible not to root for her as she wins over everyone she meets, and she carries the emotional heart of the production with remarkable confidence for one so young. Her work with the most excellent Team Rockefeller orphans is only beaten by her partnership with the scene stealing Sandy the dog (played this evening by a delightfully enthusiastic Cockerpoo called Dizzy).
Claire Sweeney is gloriously entertaining as Miss Hannigan. She perfectly balances the character’s bitterness, comic timing and larger-than-life personality without ever slipping into caricature. Her every entrance is greeted with laughter, and she makes the most of each sarcastic remark and exaggerated expression. “Easy Street” is a particular highlight, showcasing her ability to command the stage while embracing the show’s playful sense of fun. And what a voice!
Alex Bourne gives Oliver Warbucks genuine depth, gradually revealing the softer side beneath his business-like exterior. His relationship with Annie develops convincingly throughout the evening, making their growing bond genuinely touching. Tanisha-Mae Brown is elegant and warm as Grace Farrell, bringing grace and sincerity to the role while providing an excellent counterbalance to Warbucks’ stern demeanour.
Elliot David Parkes and Amber Kennedy clearly relish their roles as Rooster and Lily St. Regis. Together they inject a welcome burst of comic energy, particularly during “Easy Street,” where, along with Sweeney, their chemistry and enthusiasm create one of the production’s standout musical numbers. Their performances are delightfully mischievous.
Visually, the production is a treat. Colin Richmond’s devilishly simple set design helps us moves seamlessly between the bleak orphanage, the bustling streets of New York and the opulence of the Warbucks mansion, making full use of the Royal Concert Hall’s enormous stage. The costumes beautifully evoke the era, from the worn clothing of the orphanage to the glamour of the Warbucks world. Together they create a colourful and immersive world that constantly keeps the eye engaged. Ben Cracknell’s lighting enhances every shift in mood, adding warmth and spectacle where required.
Musically, Annie remains irresistible. Charles Strouse’s iconic score is packed with timeless melodies that the audience cannot help but respond to, and the orchestra, under the direction of Alice Brown, gives every number warmth and vitality. Classics including “It’s the Hard-Knock Life,” “I Don’t Need Anything But You” and the epic “Tomorrow” sound as fresh and uplifting as ever, while the ensemble delivers them with infectious enthusiasm.
For a show that’s been around for nearly fifty years, Annie still has an uncanny knack of leaving audiences humming all the way home. This production doesn’t reinvent the wheel and it doesn’t need to. With standout performances, dazzling visuals, timeless songs and enough optimism to brighten even Miss Hannigan’s mood, it’s a joyful reminder that sometimes the classics really do know best. If ever you needed proof that the sun will come out tomorrow, this delightful production makes a very convincing case for it.
