Orpheus Musical Theatre has kicked off their 2026–27 season this week with Annie at Meridian Theatres @ Centrepointe. Opening night was Friday, and I was very happy to attend a nearly sold-out show with hundreds of theatregoers.
The Venue
Meridian Theatres @ Centrepointe houses two distinct performance spaces, and Orpheus productions take place in the larger theatre. It offers sophisticated equipment, ample seating, excellent audio-visual quality, and great acoustics. The space is well-designed for elaborate productions, with a versatile stage that lets creativity shine. Beyond the technical strengths, the venue includes a spacious lobby, a bar with a variety of drinks to select from, exceptionally friendly staff, and—rare for local theatre—free parking!
The Show
Annie is a classic. Most people picture a little red-curly-haired orphan girl when they hear the title, but fewer know the full story. Set in New York City during the Great Depression, just before the Second World War, Annie lives in an all-girls orphanage, holding onto the hope that her parents will someday return for her. Despite the passing years, Annie’s optimism never fades. When she’s offered the chance to spend two weeks over Christmas with a local billionaire, she eagerly accepts—and quickly forms a bond with him. Once a $50,000 reward is announced to locate her parents, the opportunistic and desperate Miss Hannigan, who manages the orphanage, and her conniving brother hatch a scheme to cash in.
Before I get to my stand-out performances, I have to say this: in true Orpheus fashion, no expense was spared on props, sets, costumes, makeup, lighting, music, or casting. Every element of this production was excellent.
Stand-Out Performances
As always, I like to highlight the performers who truly shone—those whose work went above and beyond what I expect to see in community theatre. With such an experienced and talented cast, narrowing it down was a challenge, but here are my top mentions (in no particular order):
Peter Graves (Oliver Warbucks): Graves is one of the few cast members I’ve seen before, and based on his previous performance, my expectations were high. He did not disappoint. His commanding on-stage presence, strong characterization, and confident delivery made him a perfect Warbucks. The role demands an intimidating, no-nonsense figure, and Graves delivered while holding the audience’s attention with ease. He’s proven once again that he can step into any role and own it.
Hilary Peck (Miss Hannigan): Peck is incredibly talented. Her singing is spectacular—matched only by her outstanding acting. She played Miss Hannigan with hilarious energy, from random screaming fits to outlandish antics that kept the audience laughing. I can’t wait to see her in future productions.
Before my next shout-out, I want to acknowledge how challenging it can be to stage a production involving many young performers. I’ve seen companies struggle with this before. Orpheus once again rose to the challenge and delivered brilliance where chaos could easily have taken over. The orphans were funny, entertaining, and never once felt like a school-play ensemble. The choreography by Rachel Myrah was particularly impressive—well-designed, age-appropriate, and extremely well executed.
Grace Pasini (Molly): All the orphans were fantastic, but Pasini was a true stand-out. Her acting ability is far beyond her years. She stole every scene she was in and I suspect big things are ahead for her.
Waverley Unsworth (Annie – Opening Night): Since the role alternates, I can’t speak to Sienna Rader’s performance, but Unsworth was exceptional. She is a natural Annie. Her almost comically overwhelming positivity and optimism were delivered so flawlessly that I fully believed it was her own personality shining through. She’s a strong singer and performer, and as a title character should, she anchored the show.
Before I get into the supporting cast, I want to give one more well‑deserved shout-out to Kira Haucke. In addition to her work in the ensemble, she was also the human operator behind Sandy, the puppet dog. Sandy was absolutely delightful—even with only a couple of scenes—and this recognition goes equally to Haucke’s skillful puppetry and to the wonderfully creative design of the dog itself.
A show this strong simply can’t happen without a talented team behind it. As always, Orpheus impresses with the extras that elevate a production from good to exceptional, and Annie was no exception. A huge shout-out goes to Jody Haucke and his team for the costume design. Their work was spot-on, perfectly capturing the era while also highlighting the class differences among characters. From the homeless community to police officers to the ultra‑wealthy, every costume felt authentic and intentional. The set design by Tony Walker was equally outstanding. With 32 productions under his belt, his expertise shows. The set shifted continuously and seamlessly, with no detail overlooked.
I intentionally saved my final point for last: this production marked the directorial premiere of Brendan Finnerty. He’s no stranger to the stage, and I’ve praised him many times in previous reviews as a stand-out performer. Now, he’s proven he’s just as exceptional behind the scenes. Very, very well done, Brendan!
Overall, Annie was incredible. It may not have been the funniest, the most technically complex, or the most elaborate show I’ve ever seen—but it was a close second in every one of those categories. The cast was flawless, the artistic design across the board was phenomenal, and the entertainment value was unmatched.
The show runs from November 21–30, and tickets are still available—so grab them while you can!
Please feel free to comment on this post and let me know what you thought of the show or the review. I always appreciate feedback!
