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Annie Get Your Gun Lincoln Center Theatre Review

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1946 musical by Irving Berlin

Annie Get Your Gun
Annie Merman.jpg

Broadway 1946 Original Cast Album
Music Irving Berlin
Lyrics Irving Berlin
Book
  • Dorothy Fields
  • Herbert Fields
Productions
  • 1946 Broadway
  • 1947 West Terminate
  • 1947 U.S. Tour
  • 1947 Australia
  • 1950 Picture show
  • 1958 Broadway revival
  • 1966 Broadway revival
  • 1975 México
  • 1986 UK tour and London revival
  • 1992 Westward End revival
  • 1999 Broadway revival
  • 2000 U.S. Tour
  • 2009 London revival
  • 2014 United kingdom Tour
Awards 1999 Tony Accolade for All-time Revival

Annie Become Your Gun is a musical with lyrics and music by Irving Berlin and a book past Dorothy Fields and her brother Herbert Fields. The story is a fictionalized version of the life of Annie Oakley (1860–1926), a sharpshooter who starred in Buffalo Bill's Wild West, and her romance with sharpshooter Frank Due east. Butler (1847–1926).[ane]

The 1946 Broadway production was a hit, and the musical had long runs in both New York (1,147 performances) and London, spawning revivals, a 1950 moving-picture show version and television versions. Songs that became hits include "There'southward No Business Similar Show Business", "Doin' What Comes Natur'lly", "You Tin can't Get a Human being with a Gun", "They Say It'south Wonderful", and "Anything You lot Tin can Do (I Can Do Better)".

History and background [edit]

Dorothy Fields had the idea for a musical about Annie Oakley, to star her friend, Ethel Merman. Producer Mike Todd turned the project downwardly, and so Fields approached a new producing team, Richard Rodgers and Oscar Hammerstein II. Later on the success of their first musical collaboration, Oklahoma!, Rodgers and Hammerstein had decided to go producers of both their own theatrical ventures and those by other authors.[2] They agreed to produce the musical and asked Jerome Kern to etch the music; Fields would write the lyrics, and she and her brother Herbert would write the book.[2] Kern, who had been composing for movie musicals in Hollywood, returned to New York on November 2, 1945, to begin work on the score to Annie Get Your Gun, but three days subsequently, he collapsed on the street due to a cerebral hemorrhage.[3] Kern was hospitalized, and he died on Nov eleven, 1945.[four] The producers and Fields and so asked Irving Berlin to write the musical's score; Fields agreed to step down as lyricist, knowing that Berlin preferred to write both music and lyrics to his songs.[five] Berlin initially declined to write the score, worrying that he would be unable to write songs to fit specific scenes in "a situation show".[5] Hammerstein persuaded him to report the script and try writing some songs based on information technology, and within days, Berlin returned with the songs "Doin' What Comes Naturally", "You Tin't Get a Man With a Gun", and "There's No Concern Similar Prove Business concern".[6] Berlin's songs suited the story and Ethel Merman'south abilities, and he readily composed the rest of the score to Annie Become Your Gun.[five] [7] The show'southward eventual striking vocal, "There'due south No Business Similar Show Business", was almost left out of the show because Berlin mistakenly got the impression that Richard Rodgers did not like it.[8] In imitation of the structure of Oklahoma! a secondary romance betwixt 2 of the members of the Wild West Prove was added to the musical during its development.[9]

According to some sources, the role of Annie was originally offered to Mary Martin, who turned it down. This is not true. Dorothy Fields went to the hospital after Merman gave nascency to her son to ask her if she would do the bear witness. The evidence was conceived for Merman, merely when time came to send out the post-Broadway national bout and Merman was unwilling to do information technology, Martin jumped at the chance, going on the road for approximately two years and belting out the songs, which had the issue of lowering her voice from its normal lyric-coloratura range to mezzo-soprano-alto.

For the 1999 revival, Peter Stone revised the libretto, eliminating what were considered insensitive references to American Indians, including the songs "Colonel Buffalo Bill" and "I'm An Indian Too".[10] Stone said, "The big challenge is taking a volume that was wonderfully crafted for its fourth dimension and make information technology wonderfully crafted for our time... It was terribly insensitive...to Indians.... But information technology had to be dealt with in a way that was heartfelt and not obvious... In this instance, it was with the permission of the heirs. They're terribly pleased with it."[xi] Rock also altered the structure of the musical, beginning it with "At that place's No Business Like Show Business organization" and presenting the musical as a "show within a show".[9]

Plot summary [edit]

Act I [edit]

When the traveling Buffalo Bill'due south Wild West show visits Cincinnati, Ohio ("Colonel Buffalo Pecker"), Frank Butler, the show'southward handsome, womanizing star ("I'k a Bad, Bad, Human"), challenges anyone in boondocks to a shooting match. Foster Wilson, a local hotel owner, doesn't capeesh the Wild West show taking over his hotel, then Frank gives him a side bet of ane hundred dollars on the friction match. Annie Oakley enters and shoots a bird off Dolly Tate's hat, and so explains her unproblematic backwoods ways to Wilson with the help of her siblings ("Doin' What Comes Natur'lly"). When Wilson learns she's a brilliant shot, he enters her in the shooting match confronting Frank Butler.

While waiting for the friction match to start, Annie meets Frank Butler and is instantly smitten with him, non knowing he volition be her opponent. When she asks Frank if he likes her, Frank explains that the girl he wants will "habiliment satin... and smell of cologne" ("The Girl That I Marry"). The rough and naive Annie comically laments that "You Can't Get a Man with a Gun". At the shooting match, Annie finds out that Frank is the "big swollen-headed potent" from the Wild West show. She wins the contest, and Buffalo Bill and Charlie Davenport, the evidence's managing director, invite Annie to join the Wild West Show. Annie agrees because she loves Frank fifty-fifty though she has no thought what "bear witness business organisation" is. Frank, Charlie, and Buffalo Bill explain that "In that location's No Business Like Testify Business organization".

Over the course of working together, Frank becomes enamored of the plain-spoken, honest, tomboyish Annie and, as they travel to Minneapolis, Minnesota, on a train, he explains to her what "dear" is ("They Say It's Wonderful"). Buffalo Nib and Charlie discover that their rival, Pawnee Bill's Far Due east Show, will be playing in Saint Paul, Minnesota, while the Wild West show plays in nearby Minneapolis. They ask Annie to exercise a special shooting stunt on a motorbike to draw Pawnee Bill's business away. Annie agrees because the trick will surprise Frank. She sings her siblings to sleep with the "Moonshine Lullaby".

As Annie and Frank prepare for the show, Frank plans to suggest to Annie after the show and then ruefully admits that "My Defenses Are Downwards". When Annie performs her trick and becomes a star, Principal Sitting Bull adopts her into the Sioux tribe ("I'grand An Indian Too"). Hurt and angry, Frank walks out on Annie and the show, joining the competing Pawnee Pecker's show.

Human action II [edit]

Returning to New York from a tour of Europe with the Buffalo Bill testify, Annie learns that the bear witness has gone bankrupt. Sitting Bull, Charlie, and Buffalo Bill plot to merge Buffalo Bill'due south show with Pawnee Bill's as they believe that testify is doing well financially. Annie, now well-dressed and more refined and worldly, still longs for Frank ("I Got Lost in His Arms").

At a grand reception for Buffalo Nib's troupe at the Hotel Brevoort, Pawnee Nib, Dolly, and Frank also plot a merger of the two companies, bold Buffalo Pecker's bear witness made a fortune touring Europe. When they all meet, they shortly discover both shows are bankrupt. Annie, all the same, has received sharpshooting medals from all the rulers of Europe worth 1 hundred k dollars, and she decides to sell the medals to finance the merger, rejoicing in the simple things ("I Got the Sun in the Mornin'"). When Frank appears, he and Annie confess their dear and determine to ally, although with comically different ideas: Frank wants "some piddling chapel", while Annie wants "A wedding ceremony in a large church with bridesmaids and flower girls/ A lot of ushers in tail coats/ Reporters and photographers" ("An Old-Fashioned Wedding"o). When Annie shows Frank her medals, Frank once again has his pride hurt. They call off the merger and the nuptials, but challenge each other to i last shooting match to decide who is the all-time shot.

On the ferry to the Governors Island friction match site, Dolly attempts to ruin Annie's chances by tampering with her guns. She is caught and stopped by Sitting Bull and Charlie. However, they and so determine to follow through with Dolly'southward program so that Annie will lose the friction match, knowing that would soothe Frank's ego allowing the 2 to reconcile and the merger to have place.

Equally the friction match is prepare to begin, Annie and Frank'due south egos come out again with each challenge they are meliorate than the other ("Anything Yous Can Do"). Sitting Bull convinces Annie to deliberately lose the friction match to Frank, reminding her that she "tin can't become a man with a gun." That done, Frank and Annie finally reconcile, deciding to marry and merge the shows.

Notes:

  • This description is based on the 1966 revised book.
  • In the 1999 book, Frank too deliberately misses his shots in the concluding lucifer, which ends in a tie.
  • o written for 1966 revision and included in 1999 Broadway Revival; non in the original product
  • § omitted from the 1999 Broadway Revival

Notable Casts [edit]

Character Original Broadway[12]

(1946)

Original West End[13]

(1947)

First U.Due south. Tour[14]

(1947)

Starting time Broadway Revival[xv]

(1958)

2d Broadway Revival[16]

(1966)

First West Stop Revival

(1986)

Third Broadway Revival[17]

(1999)

Second U.S. Tour[18]

(2000)

Annie Oakley Ethel Merman Dolores Gray Mary Martin Betty Jane Watson Ethel Merman Suzi Quatro Bernadette Peters Marilu Henner
Frank Butler Ray Middleton Bill Johnson Earl Covert David Atkinson Bruce Yarnell Eric Flynn Tom Wopat Rex Smith
Dolly Tate Lea Penman Barbara Babington Jean Cleveland Margaret Hamilton Benay Venuta Maureen Scott Valerie Wright Susann Fletcher
Buffalo Bill William O'Neal Ellis Irving Jack Rutherford James Rennie Rufus Smith Edmund Hockridge Ron Holgate George McDaniel
Primary Sitting Bull Harry Bellaver John Garside Zachary A. Charles Harry Bellaver Harry Bellaver Berwick Kaler Gregory Zaragoza Larry Storch
Tommy Keeler Kenneth Bowers Irving Davies Tommy Wonder Richard French republic 10[a] x Andrew Palermo Eric Sciotto
Charlie Davenport Marty May Hal Bryan Donald Burr Jack Whiting Jerry Orbach Matt Zimmerman Peter Marx Joe Hart
Winnie Tate Betty Anne Nyman Wendy Toye Billie Worth Rain Winslow x x Nicole Ruth Snelson Claci Miller
Pawnee Neb George Lipton Edmund Dalby Bern Hoffman William LeMassena Jack Dabdoub Michael G. Jones Ronn Carroll Charles Goff

Notes

  1. ^ Characters Tommy Keeler and Winnie Tate were cutting in both this product and the 1986 West Cease revival cast

Characters [edit]

  • Annie Oakley—a sharpshooter in the Wild West show
  • Frank Butler—the Wild W show's star
  • Dolly Tate—Frank's flamboyant banana; Winnie'southward sis (Charlie's sister in the 1966 version)
  • Buffalo Nib—possessor of the Wild Westward show
  • Principal Sitting Balderdash—Sioux chief and holy man; Annie's protector
  • Tommy Keeler§—pocketknife-thrower in the Wild West show; Winnie'south swain; part Native American (not in the '66 version)
  • Charlie Davenport—manager of the Wild W bear witness
  • Winnie Tate§—Dolly's sister; Tommy'due south girlfriend and his banana in the knife-throwing human activity (not in the '66 version)
  • Pawnee Bill—owner of a competing western show
  • Foster Wilson—hotel owner
  • Little Male child-evidence opens on him
  • Annie's brothers and sisters: Jessie, Nellie, Picayune Jake, and Minnie (Minnie was written out of the 1999 revival[xix])

Notes

  • §Tommy and Winnie and their songs were written out of the film & 1966 revision. The 1999 revival restored their characters and songs.

Musical numbers [edit]

Original 1946 product [edit]

Notes
  • §: omitted from the 1950 motion-picture show version
  • "Let'southward Become Due west Again" was written by Berlin for the 1950 film just was not used. However, there are recordings by both Betty Hutton and Judy Garland.
  • "Take It in Your Stride" was a solo for Annie written for the original production. It was replaced by a reprise of "At that place's No Business concern Like Show Business" when Merman found the number too difficult. It was recorded past Liz Larsen for the anthology Lost in Boston.

1999 revival [edit]

"An Former-Fashioned Wedding" was written by Berlin for the 1966 revision, sung by Annie and Frank, and was also included in the 1999 revival

Productions [edit]

Original productions [edit]

Annie Get Your Gun premiered on Broadway at the Imperial Theatre on May 16, 1946, and ran for 1,147 performances. Directed past Joshua Logan, the prove starred Ethel Merman equally Annie, Ray Middleton as Frank Butler, Lea Penman as Dolly Tate, Art Bernett every bit Foster Wilson, Harry Bellaver every bit Chief Sitting Bull, Kenneth Bowers as Tommy Keeler, Marty May as Charlie Davenport, Warren Berlinger as the Piffling Boy and William O'Neal every bit Buffalo Bill.

The musical toured the U.South. from October 3, 1947, starting in Dallas, Texas, with Mary Martin as Annie. This tour likewise played Chicago and Los Angeles. Martin stayed with the tour until mid-1948.

The evidence had its West End premiere on June 7, 1947, at the London Coliseum where information technology ran for one,304 performances. Dolores Gray played Annie with Pecker Johnson as Frank.

The first Australian production opened at His Majesty's Theatre in Melbourne on July 19, 1947. It starred Evie Hayes as Annie with Webb Tilton as Frank.

A French version, Annie du Far-West, starring Marcel Merkes and Lily Fayol, began production at the Théâtre du Châtelet in Paris on February nineteen, 1950, and ran for over a year.

1958 Broadway revival [edit]

The first Broadway revival was staged in 1958 at the New York Metropolis Middle, directed by Donald Burr and produced by Jean Dalrymple, managing director of the NYCC Low-cal Opera Company. This production opened on February 19, 1958, and ran until March 2, for 16 performances. Betty Jane Watson played the role of Annie with David Atkinson every bit Frank, Margaret Hamilton as Dolly, James Rennie equally Principal Buffalo Bill, and Jack Whiting as Charles Davenport. Included in the bandage was Harry Bellaver, reprising his original role of Chief Sitting Balderdash. The program didn't listing the performer who was to play Annie, and instead a "to-exist-appear" statement was substituted for the name. At the final minute, Watson signed for the function. Even the program for the 2nd calendar week of the ii-week appointment didn't list her proper noun, except every bit understudy; this was the first time in retention that a leading performer wasn't listed.[15]

1966 Broadway revival [edit]

The evidence had its 2nd Broadway revival in 1966 at the Music Theater of Lincoln Eye. This production opened on May 31, 1966, and ran until July nine, followed by a short 10-week U.S. Tour. Information technology returned to Broadway at the Broadway Theatre on September 21 for 78 performances. Ethel Merman reprised her original function as Annie with Bruce Yarnell as Frank, Benay Venuta every bit Dolly, and Jerry Orbach as Charles Davenport. The libretto and score were revised: The secondary romance between Tommy Keeler and Winnie Tate was completely eliminated, including their songs "I'll Share it All With Yous" and "Who Practise Yous Honey, I Hope?", and the vocal "An Old-Fashioned Wedding" was specially written for the revival and added to the second human activity.[15] : 305 This version of the prove is available for licensing for amateur performances. This production was telecast in an abbreviated ninety-minute version by NBC on March 19, 1967, and is the only musical revived at Lincoln Center during the 1960s to exist telecast.[ citation needed ]

1973 Shady Grove Music Off-white production [edit]

Jay Harnick directed a revival at the Shady Grove Music Fair starring Barbara Eden, John Bennett Perry and Sandra Peabody that ran from 1973 to 1974.[twenty]

1976 Mexican production [edit]

In 1976 a Spanish-linguistic communication version was produced in Mexico City with the proper noun of Annie es un tiro. It was directed by José Luis Ibáñez and starred by Mexican motion picture star Silvia Pinal. The production was represented at the Teatro Hidalgo and was co starred by the role player and vocaliser Manuel López Ochoa. The success of the production produced the showtime Spanish-language version of the musical's soundtrack.[21]

1977 Los Angeles Civic Light Opera production [edit]

In 1977, Gower Champion directed a revival for the Los Angeles Civic Light Opera starring Debbie Reynolds equally Annie.[22] The Assistant Director was James Mitchell. Harve Presnell, Reynolds's former co-star in the 1964 picture show The Unsinkable Molly Dark-brown, played Frank Butler. The cast featured Art Lund as Buffalo Bill, Bibi Osterwald equally Dolly Tate, Gavin MacLeod every bit Charlie Davenport,[23] Peter Bruni equally Foster Wilson, Don Potter as Pawnee Bill, and Manu Tupou as Sitting Bull.[24] [25] The cast also included Trey Wilson and Debbie Shapiro. The production later toured diverse North American cities, but never ran on Broadway, its planned destination.

1986 UK tour and London revival [edit]

In 1986, a David Gilmore Chichester Festival Theatre production, with American stone star Suzi Quatro every bit Annie and Eric Flynn equally Frank, opened at the Chichester Festival Theatre.[26] [27] It moved to the Theatre Royal, Plymouth,[27] and then to the Aldwych Theatre in London'southward West End where it played from July 29 to October iv.[28] The cast recorded an album, Annie Get Your Gun - 1986 London Cast[29] and Quatro's songs "I Got Lost in His Arms"/"Y'all Can't Become a Human with a Gun" were released as a unmarried.[27] Since and then "I Got Lost in His Arms" has also been included in the compilation albums The Divas Drove (2003)[30] and Songs from the Greatest Musicals (2008).[31]

1992 London revival [edit]

A short-lived London production ran at the Prince of Wales Theatre in the West End, starring Kim Criswell as Annie.[32] Criswell's studio cast recording of the show - made with Thomas Hampson and conductor John McGlinn[33] - provided the impetus for the production. Pippa Ailion was the Casting Managing director for this product.

1999 Broadway revival [edit]

In 1999, a new production had its pre-Broadway engagement at the Kennedy Heart, Washington, D.C., from December 29, 1998, to Jan 24, 1999. Previews began on Broadway on February 2, 1999, at the Marquis Theatre, with an official opening on March four, 1999, and closed on September 1, 2001, subsequently 35 previews and 1,045 performances.

This revival starred Bernadette Peters every bit Annie and Tom Wopat as Frank, and Ron Holgate as Buffalo Pecker, with direction by Graciela Daniele, choreography by Jeff Calhoun, and music arrangements past John McDaniel. Peters won the 1999 Tony Award for All-time Leading Extra in a Musical and the production won the Tony for Best Revival of a Musical.

This production had a revised volume by Peter Stone and new orchestrations, and was structured every bit a "bear witness-within-a-show", set as a Big Top travelling circus. "Frank Butler" is alone on stage and Buffalo Bill introduces the main characters, singing "In that location'southward No Business Like Show Business", which is reprised when "Annie" agrees to join the traveling Wild West testify. The production dropped several songs (including "Colonel Buffalo Nib", "I'm A Bad, Bad Man", and "I'g an Indian Too"), but included "An Old-Fashioned Wedding". There were several major dance numbers added, including a ballroom scene.[34] A sub-plot which had been dropped from the 1966 revival, the romance between Winnie and Tommy, her part-Native-American boyfriend, was besides included. In the 1946 production, Winnie was Dolly'south daughter, merely the 1966 &1999 productions she is Dolly's younger sister. In this version, the final shooting match between Annie and Frank ends in a tie.[35]

Notable replacements [edit]

While Peters was on vacation, All My Children star Susan Lucci made her Broadway debut equally Annie from December 27, 1999, until January 16, 2000. Peters and Wopat left the bear witness on September ii, 2000. Former Charlie's Angels star Cheryl Ladd made her Broadway debut every bit Annie on September half dozen, 2000, with Patrick Cassidy as Frank Butler. Land music singer Reba McEntire made her Broadway debut as Annie from January 26, 2001, to June 22, 2001, opposite Brent Barrett equally Frank.[36] On June 23, 2001, one-time Wings star Crystal Bernard, who had been playing Annie in the national tour of Annie Go Your Gun, assumed the role of Annie in the Broadway production, with Tom Wopat returning as Frank Butler.[37]

2000 U.S. tour [edit]

The 1999 Broadway production, in a "slightly revised version", toured in a U.Due south. national tour starting in Dallas, Texas, on July 25, 2000, with Marilu Henner and Rex Smith. Tom Wopat joined the bout in late Oct 2000, replacing Smith.[38]

2006 Prince Music Theater product [edit]

In 2006, the Prince Music Theater of Philadelphia, Pennsylvania, revived the 1966 Lincoln Center Theater version for i month. This production starred Andrea McArdle (the original Annie of the 1977 Broadway musical Annie), Jeffrey Coon as Frank Butler, John Scherer as Charlie Davenport, Chris Councill as Buffalo Bill, Mary Martello every bit Dolly Tate, and Arthur Ryan as Sitting Bull. The production was well received by critics.[39] The production was directed by Richard M. Parison, Jr. and choreographed by Mercedes Ellington.[twoscore]

2009 London revival [edit]

Jane Horrocks, Julian Ovenden and managing director Richard Jones mounted a major London revival at the Young Vic, Waterloo. The show opened at the off west end venue on October xvi, 2009, initially booking until January ii, 2010, but with an extra calendar week added due to pop demand. The production featured new arrangements by Jason Carr for a ring consisting four pianos.[41] London'due south Guardian newspaper awarded the show 5 stars, claiming that "Richard Jones's brilliant production offers the wittiest musical staging London has seen in years."[42]

2010 Ravinia Festival concert [edit]

A concert staging of the original version of Annie Go Your Gun took place at the Ravinia Festival, Chicago from August 13–xv, 2010 to gloat the 150th anniversary of Annie Oakley's nascence. Directed by Lonny Price, the concert starred Patti LuPone equally Annie, Patrick Cassidy as Frank and George Hearn as Buffalo Bill.[43] The concert received unanimously potent reviews, notably for LuPone and Toll'southward direction.

Other major productions [edit]

Lucie Arnaz starred in a product in the summer of 1978 with Harve Presnell at the Jones Beach Theater in Nassau County, New York.[44] This was the first major production of the musical done in the New York surface area later on the 1966 revival.

The Paper Manufactory Playhouse produced a well-reviewed product in June 1987 starring Judy Kaye as Annie and Richard White as Frank.[45]

In 2004, Marina Prior and Scott Irwin starred in an Australian production of the 1999 Broadway rewrite of the show.

In 2014 Carter Calvert and David Weitzer starred in a production that opened the Algonquin Arts Theatre's 2014-2015 Broadway Season. It was also the first bear witness to exist performed after the Algonquin underwent the job of installing new seating which had not been done since 1938.

In Oct 2015, a two dark concert version was presented at the New York Urban center Center Gala starring Megan Hilty (Annie Oakley) and Andy Karl (Frank Butler). The concerts are directed by John Rando, and the bandage features Judy Kaye (Dolly Tate), Ron Raines (Buffalo Nib), Brad Oscar (Charlie) and Chuck Cooper (Pawnee Bill).[46] [47]

Motion picture and television receiver versions [edit]

In 1950, Metro Goldwyn Mayer made a well-received moving-picture show version of the musical. Although MGM purchased the rights to the film version with an announced intention of starring legendary vocaliser-extra Judy Garland as Annie, early work on the film was plagued with difficulties, some attributed to Garland's health. Garland was fired and replaced past the brassier, blonde Betty Hutton.

In 1957, a production starring Mary Martin equally Annie and John Raitt every bit Frank Butler was broadcast on NBC. In 1967, the Lincoln Center production described above, starring Ethel Merman and Bruce Yarnell, was broadcast on NBC. The Mary Martin version has been re-broadcast sporadically over the years, but the 1967 videotapes starring Ethel Merman have apparently been irretrievably lost. Only a video and audio clip of "I Got the Sun in the Mornin' (and the Moon at Night)" is known to exist,[48] as does an audio-simply recording of the entire xc-infinitesimal bear witness.[49]

Recordings [edit]

There are several recordings of the Annie Get Your Gun score, including:

  • 1946 Original Broadway Bandage: an original cast recording was released by Decca Records in 1946, featuring the cast of the original 1946 Broadway product. The principal stars were Ethel Merman and Ray Middleton. The album was added to the Grammy Hall of Fame in 1998.
  • 1957 Television receiver Bandage: a recording based on the TV version shown in 1957, with Mary Martin and John Raitt.
  • 1963 Studio Cast featuring Doris Day and Robert Goulet: not based on a theatre production.
  • 1966 Broadway Revival Bandage
  • 1976 Spanish-language version with Mexican cast.
  • 1986 1986 London Cast[29]
  • 1991 Studio Cast: Kim Criswell (Annie), Thomas Hampson (Frank), Jason Graae (Tommy), Rebecca Luker (Winnie), David Garrison (Charlie), David Healy (Buffalo Bill), Alfred Marks (Sitting Bull), Gregory Jbara (Foster Wilson) Simon Green (Pawnee Bill), Peta Bartlett (Dolly), Kerry Potter, Hayley Spencer, Emma Long (Annie'southward sisters: Minnie, Jessie Nellie), Paul Keating (Annie's blood brother: Piffling Jake), Nick Curtis, Carey Wilson, Michael Pearn (Trainman, Waiter, Porter), Clare Buckfield (Small Girl), John McGlinn (Mac), Bruce Ogston (An Indian), Ambrosian Singers, London Sinfonietta, conducted by John McGlinn. Producer: Simon Forest; Rest Engineer: John Kurlander; Editor Matthew Cocker; Product Banana: Alison Fox. Recorded July 1990, No ane Studio, Abbey Road, London. CD: EMI CDC 7 54206 2.
  • 1999 Broadway Revival Cast (Grammy Award)

Conductor John Owen Edwards along with JAY Records recorded the offset-ever complete recording, with all musical numbers, scene change music and incidental music, of the show'southward score in the 1990s with Judy Kaye and Barry Bostwick. Christopher Lee had the role of Sitting Bull.[50]

Reception [edit]

The original Broadway production opened to favorable reviews. Critics unanimously praised Ethel Merman's performance as Annie Oakley, though some thought the score and book were not particularly distinguished. John Chapman of the Daily News alleged that the production had "proficient lyrics and tunes by Irving Berlin...[and] the razzle-dazzle atmosphere of a big-time bear witness" merely pronounced Merman the best part of the show, stating "She is a better comedienne than she ever was before", stating that "Annie is a practiced, standard, lavish, big musical and I'm certain it will be a huge success--merely information technology isn't the greatest show in the world".[51] Louis Kronenberger of PM stated that the show was 'in many means routine", just greatly praised Merman'south performance, opining, "For me, Annie is mainly Miss Merman'due south bear witness, though the residuum of it is competent enough of its kind...Irving Berlin's score is musically not exciting--of the real songs, only ane or two are tuneful".[51] Ward Morehouse of The New York Sunday declared, "The large news virtually Annie Get Your Gun is that information technology reveals Ethel Merman in her all-time grade since Annihilation Goes...She shouts the Berlin music with proficient event. She often comes to the aid of a sagging book".[51] He stated, "Irving Berlin's score is not a notable 1, but his tunes are singable and pleasant and his lyrics are particularly good. The book? It's on the flimsy side, definitely. And rather witless too".[51] Lewis Nichols of The New York Times said, "It has a pleasant score past Irving Berlin...and information technology has Ethel Merman to roll her optics and to shout down the rafters. The colors are pretty, the dancing is amiable and unaffected, and Broadway by this time is well used to a volume which doesn't go anywhere in particular".[51]

However, the testify itself was greatly lauded by some critics: Vernon Rice of the New York Post proclaimed, "Irving Berlin has outdone himself this fourth dimension. No use trying to choice a hit melody, for all the tunes are hits...Ethel Merman is at her brawny, free and piece of cake best...She is at present able to develop a consistent characterization and stay with it to the show'south stop. And when she opens her oral fissure to sing, she sings!"[51] William Hawkins of the New York Globe-Telegram said that Merman was "bright as a whip, sure as her shooting, and generously the foremost lady clown of her fourth dimension" and asserted that the show itself was comparable to those of Rodgers and Hammerstein, proclaiming, "For verve and buoyancy, unslackening, in that location has seldom if ever been a show like it...the girls in Annie have the beauty and graphic symbol of looks one associates with a Rodgers and Hammerstein bear witness. And the production has in every way the distinction that has become their authentication".[51]

Historians have viewed the show as inaccurate, citing among other reasons its portrayal of Annie as a loud, boisterous character, when in reality she had a repose personality and did needlepoint in her spare time.[ citation needed ]

Redface [edit]

Native Americans accept criticized the shows portrayal of Redface and promotion of cultural stereotypes. Particularly in the vocal "I'yard an Indian As well" sung by Annie afterward Sitting Bull adopts her into the Sioux tribe.

Native Americans did protest exterior the New York theatre,[ when? ] too as flick theaters, belongings picket signs stating: "Don't Come across "Annie Get Your Gun". As a issue of this reaction, many contemporary productions have omitted the vocal from their revivals, and the protests stopped.[52]

Awards and nominations [edit]

  • Mary Martin received a Special Tony Award in 1948 for "Spreading Theatre to the Country While the Originals Perform in New York" (1947-48 US Tour)[53]

1966 Broadway revival [edit]

Year Award Ceremony Category Nominee Issue
1966 Tony Award Best Management of a Musical Jack Sydow Nominated
All-time Choreography Danny Daniels Nominated

1999 Broadway revival [edit]

Year Award Ceremony Category Nominee Result
1999 Tony Award Best Revival of a Musical Won
Best Performance by a Leading Histrion in a Musical Tom Wopat Nominated
All-time Performance by a Leading Extra in a Musical Bernadette Peters Won
Drama Desk Laurels Outstanding Revival of a Musical Nominated
Outstanding Actor in a Musical Tom Wopat Nominated
Outstanding Actress in a Musical Bernadette Peters Won
Grammy Honor Best Musical Show Album Won
2001 Drama Desk Honor Special Accolade Reba McEntire Won
Theatre Globe Award Won

2009 London revival [edit]

Year Honour Ceremony Category Nominee Effect
2009 Laurence Olivier Honour Best Musical Revival Nominated

Notes [edit]

  1. ^ A number of Internet sources claim that the musical is based on Walter Havighurst'southward book Annie Oakley of the Wild W, just the book was written in 1954, viii years later on the musical was first produced.
  2. ^ a b Flower and Vlastnik, p.13
  3. ^ Nolan, pp.164-65
  4. ^ Kern, p. 165
  5. ^ a b c Kantor and Maslon, p.223
  6. ^ Nolan, p.166
  7. ^ Nolan, pp.166-67
  8. ^ The World of Musical Comedy:The Story of the American Musical (1984), Stanley Green, pp. 79-fourscore, Da Capo Printing, ISBN 0-306-80207-4
  9. ^ a b Bloom and Vlastnik, p.14
  10. ^ Brantley, Ben. "Everything the Traffic Volition Allow". The New York Times, March 4, 1999, p.E1
  11. ^ Simonson, Robert. "Playbill On-Line's Brief Encounter with Peter Stone" Playbill.com, March two, 1999
  12. ^ "Annie Get Your Gun – Broadway Musical – Original | IBDB". www.ibdb.com . Retrieved August 26, 2020.
  13. ^ "Credits for Annie Go Your Gun (London Product, 1947)". Ovrtur . Retrieved August 26, 2020.
  14. ^ "Annie Get Your Gun – Broadway Musical – Tour | IBDB". www.ibdb.com . Retrieved August 26, 2020.
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  19. ^ In the 1999 revival, Annie had 3 siblings rather than four.
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References [edit]

  • Flower, Ken and Vlastnik, Frank (2004). Broadway Musicals: The 101 Greatest Shows of all Time. New York: Black Domestic dog & Leventhal Publishers. ISBN 1-57912-390-2
  • Kantor, Michael, and Maslon, Laurence (2004). Broadway: The American Musical. New York: Bullfinch Press. ISBN 0-8212-2905-2
  • Nolan, Frederick (2002). The Audio of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Mass.: Applause Theatre and Cinema Books. ISBN 978-1-55783-473-vii.
  • Suskin, Stephen (1990). Opening Nighttime on Broadway: A Disquisitional Quotebook of the Golden Era of the Musical Theatre. New York: Schrimmer Books. ISBN 0-02-872625-ane.
  • Annie Get Your Gun plot summary & character descriptions from StageAgent.com
  • The Judy Garland Online Discography "Annie Get Your Gun" pages.
  • Listing at the RNH site Archived August xix, 2012, at the Wayback Machine
  • 1999 Revival at RNH Archived May 2, 2012, at the Wayback Machine
  • 'Annie Become Your Gun' Story, Cast, Scenes and Settings at guidetomusicaltheatre.com

External links [edit]

  • Annie Get Your Gun at the Internet Broadway Database
  • Annie Become Your Gun (1957) (Tv set) at IMDb (Mary Martin)
  • Annie Get Your Gun (1967) (TV) at IMDb (Ethel Merman)
  • Curtain Upwardly reviews from 2/viii/01 and 3/nine/99

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Source: https://en.wikipedia.org/wiki/Annie_Get_Your_Gun_%28musical%29

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