THEATER REVIEW : ‘ANNIE’ MAY BE HOLIDAY WINNER FOR STARLIGHT

San Diego Civic Light Opera Assn. has tossed a new offering in the holiday ring this year after a couple of unsuccessful attempts to make “Babes in Toyland” its annual Christmas moneymaker.

The latest contender is a lively production of “Annie,” the comic-strip-style musical charmer that snared seven Tony Awards on Broadway during the ‘70s. And leapin’ lizards, this time the Starlight organization just might have a Christmas hit on its hands.

“Annie” is not often packaged as a Christmas offering, but it certainly has Christmas in its heart. Its satisfying rags-to-riches scenario, cheery all-American optimism and old-fashioned sentimentality make for wonderful family fare.

Add to that a gaggle of adorable moppets; a dapper, bald tycoon; a lovable pooch, and songs like “I Don’t Need Anything but You,” “Tomorrow,” and “N.Y.C.,” and you have a winning combination.

There’s a wonderful funny-pages feeling to this Depression-era musical, deftly juxtaposed against a potent dash of Bertolt Brecht, as in the “Hooverville” number--the cynical tribute to Herbert Hoover tucked into the middle of Act 1. With nasty old Miss Hannigan to hiss at, along with her sleazy brother Rooster and his greedy dingbat sidekick Lily, the stage is set for a perpetual crowd-pleaser. This one earned a raucous standing ovation from the first-nighters Thursday.

But the Starlight production is not perfect, and much of the trouble emanates from the orchestra pit. Instead of camouflaging the musicians, the Spreckels’ protruding pit thrusts them into the sight lines, making it difficult to fall under “Annie’s” theatrical spell.

To exacerbate the problem, light spilling from the music stands drew attention away from the action. This was particularly distracting during the opening scene, when pint-sized performers dominated the stage. But Jeff Rizzo’s Starlight debut as conductor was auspicious, and the orchestra sounded so much better without interruptions from passing planes--a fact of life in the outdoor Starlight Bowl.

Don and Bonnie Ward directed and choreographed the show with their usual savvy (they had already staged the show at the Starlight Bowl several summers ago). Some of the original Starlight scene-stealers are among the cast for this intimate indoor staging.

Pat White is back as Annie’s nemesis, grouchy old Miss Hannigan, and she is as irascible as ever in the juicy role. She stalks the stage with rickety steps and scowling face, and belts out the songs with wicked glee, especially in the acid-tipped “Little Girl” lament. Gail Wolford-Arnhym played the star-to-be with wide-eyed enthusiasm in the last go-round for Starlight, and she’s still star-struck in this production--and still a delight to watch.

Thom Murray slipped right back into his rubbery rendition of Rooster, and makes the seedy shuffle down “Easy Street” a slithery show-stopper, with fine support from Belle Calaway and White. Pippa Winslow is another Starlight veteran, repeating her performance as the doting secretary to harried Daddy Warbucks with no-nonsense efficiency.

There’s a new waif for the title role, San Diego’s own Errolyn Yavorsky. The 9-year-old is as cute as a button, but she’s short on the street smarts of an Orphan Annie and lacks the bugle-voiced power to do justice to her rousing tunes. Nevertheless, it’s hard to resist little Errolyn in the upbeat “Tomorrow” number, when Annie inspires President Roosevelt and his platitude-spouting Cabinet to think positively and save the nation with the New Deal.

Starlight’s Daddy Warbucks (David Wasson) is an old hand at this two-dimensional comic book character (he played the part in the national company), and he fits the role like a glove. Raymond Thorne as F.D.R. is another trooper. In fact, he created the role in the original production, so it’s no surprise he’s a spitting image of the former President, down to the way he cocks his head and delivers his lines.

Even Sandy, Annie’s canine companion, has “Annie” in her blood. The former stray has traveled cross-country with the touring show, and she was all ham on stage at the Spreckels.

The “Annie” decor has most of the ingredients that made the Broadway show a smash, except for the treadmill that makes the “N.Y.C.” number a virtual symphony of movement. But the Wards doctored up the choreography to compensate, and it worked like a charm.

If “Annie” knocks ‘em dead at the Spreckels during this holiday run, the San Diego Civic Light Opera has plans to develop an extended winter season in subsequent years--good news indeed for San Diego musical theater buffs.

“ANNIE” Book by Thomas Meehan, music by Charles Strouse, lyrics by Martin Charnin. Directed and choreographed by Don and Bonnie Ward. Scenic design, Ken Holamon and Dwight Mc Bride. Lighting, Bill Gorgensen. Costumes, Tara. Choral direction, Fred Rigby. Director-conductor, Jeff Rizzo. With David Wasson, Pat White, Errolyn Yavorsky, Pippa Winslow, Matthew Krumwiede, Raymond Thorne, Thom Murray, Gail Wolford-Arnhym and Belle Calaway. Performances at 8 p.m. nightly (except Sunday and Monday) through Dec. 23; matinees at 2 p.m. Saturdays, Sundays, Dec. 23 and 24. A special Christmas Day performance is slated for 7 p.m. At Spreckels Theatre, 121 Broadway, San Diego.