Marriott Theatre Lincolnshire, 10 Marriott Drive, Lincolnshire
Tickets: 847-634-0200 (Dinner Packages available)
Runs through February 15, 2004
Almost everyone knows the plot of Annie Get Your Gun. A rural, backwoods Annie Oakley stumbles upon a shootin’ contest, and bests Frank Butler, the star of Buffalo Bill Cody’s touring show. Much to Frank’s dismay, Bill Cody invites Annie to join the show. From there, the plot rests on Frank and Annie falling in love, even when they sometimes can’t stand one another.
The music by Irving Berlin is, of course, superb. In this one show we hear the classics, “There’s No Business like Show Business”, “The Girl That I Marry”, “I Got the Sun in the Morning”, and “Anything You Can Do”, just to name a few. The book by Herbert and Dorothy Fields is not as strong, but this is also a 1940s musical. The book just needs to hang together long enough to get us from one song to the next. And the book does that with twists and turns involving other couples, and the ups and downs of show business. However, the book also has problems. One big issue every revival faces is in the roles of the Indians, particularly Chief Sitting Bull. No matter how you slice it, putting Indians on stage is a touchy matter now, something the Fields’ didn’t need to worry about when they wrote the book. It becomes especially tricky when the Indians are treated in a way that rings ugly to our 21st century ears. Even with updating to include a line about casinos, the roles are still horrifically politically incorrect. In casting Roger Mueller as Sitting Bull, this production detours a few landmines as Mueller is very charming and funny in his broken English, and most importantly, makes Sitting Bull a warm character we care about. The same can be said for half-Indian/half-Irish Tommy Keeler, played by Matt Raftery.
The Marriott’s production stars Susie McMonagle as Annie Oakley. She sparkles, even when we first meet her with matted hair and dust covered clothes. McMonagle seems to be enjoying herself immensely, and sends all that energy right out to the audience. Her voice is crystal clear and her Annie well-rounded. She’s a jewel in the role. Unfortunately, the same cannot be said of Edward Watts as Frank Butler. His voice is strong, but his portrayal of Frank is missing the charm necessary for Annie to fall for him. Given that Annie has the stronger book, more songs, more stage time, and flashier costumes, the actor playing Frank has to work harder just to keep pace. After all, most people who can rattle off a list of actresses who have played Annie over the years would probably be stumped after only a name or two of the actors who’ve played Frank Butler. It’s simply the way the show is conceived. Watts’ finest asset is his voice, but his acting isn’t strong enough. His charm needs to be more present, and his energy needs to be closer to Annie’s so we can see how he’s the one for her. The opposite can be said about Lauren Robinson, who plays Dolly Tate. Dolly thinks of Frank as her guy, and takes an instant dislike to Annie. Robinson has a strong voice, but she pushes her acting too hard. There is nothing believable about Dolly, and Robinson doesn’t mine the character for anything true. When Dolly ends up with Charlie Davenport, proprietor of the touring show, we need to know it’s because someone has seen something in her, however small a glimpse. We should be happy for them to end up together. After all, this is a 1940s musical. However, with Robinson’s overacting, it’s now only a plot device to get her out of the way for Annie and Frank to end up together. We don’t feel one way or t’other about this couple, when instead we should see and truly feel the moment she realizes that someone likes her, and thinks she’s beautiful. There needs to be a smidge of a heart in Dolly, and there isn’t one.
But even with a Frank that should be a little stronger, and a Dolly that should be a little more real, Marriott has a fun show on their hands. It’s hard to go wrong with Irving Berlin’s music, a large cast of dancers in very colorful costumes, and a circus tent that takes in the entire seating area. It’s just too big and festive not to have fun, especially whenever McMonagle is onstage, which is almost non-stop. This production is flawed but fun, energetic, and filled with great music sung beautifully. It’s also a great way to break the young’uns into theater-going. They get to see kids their own age on stage, and its wholesome entertainment for the whole dang family. Annie Get Your Gun is a good way to spend time together.
