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Annie Get Your Gun
a Musical Comedy
CATEGORY : COMEDY MUSICAL
by Irving Berlin (songs) & Herbert and Dorothy Fields (book; revised by Peter Stone)

COMPANY : Agape Players, Inc. [WEBSITE]
VENUE : Gwinnett Civic & Cultural Center [WEBSITE]
ID# 4757

SHOWING : July 24, 2015 - July 26, 2015

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PRODUCTION DESCRIPTION

“There’s No Business Like Show Business” when Buffalo Bill’s Wild West Show comes to town! Backwoods country girl Annie Oakley goes head-to-head with the show’s star marksman Frank Butler to find out who is the best shot. She falls head-over-heels in love with him. In this family-friendly show-within-a-show, there is great music, great laughs, and big production numbers. We promise it will hit the bull’s eye!


CAST & CREW LIST
Annie Oakley Joy Walters
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REVIEWS

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Sound Ruins Another Show
by playgoer
Monday, July 27, 2015
3.5
"The wages of sin are death." Think that’s a sentence you’d never hear in a pre-curtain speech? Well, you haven’t been to Christian organization Agape Players’ inaugural production of "Annie Get Your Gun," where the pre-curtain speech is more of a sermonette. It’s also pretty incompetent as a pre-curtain speech. Saying "you know what to do" with cellphones is not an adequate warning to today’s audience members, who seem to believe that leaving a cellphone on during a show is acceptable, as long as the phone feature is not actively in use. When the pre-curtain speech is followed by a blackout and the orchestra starting to tune up, you get the feeling that Agape Players doesn’t have the slimmest concept of how to run a show. With sour violin notes marring the over-amplified overture, you wonder how bad things are going to get.

Alas, the sound doesn’t improve. The orchestra remains over-amplified throughout the show. Dialogue with underscoring becomes music accompanied by indecipherable words. Microphone levels pop on and off, and I was pleased at how well I could hear when the microphones went off for a couple of seconds. Then they came back, and male voices were once again muddied to mush. Female voices seem to fare better.

Other than that, the production is pretty good. Joy Walters is a terrific Annie Oakley, and the children playing her siblings (Goldie Hatch, Julia Walters, Anna Grace Green, and Nathan Cross) are also full of talent. Choreography, while often seeming to be inspired by marching band formations, makes good use of the large and deep stage. Rented backdrops and costumes give a finished, professional feel to the proceedings. Sharpshooting special effects using popping balloons are effective, if a bit overused. The story of the show comes through clarion-clear, with Abigail Ellis as the dim-witted villainess Dolly Tate adding just enough fun and complications to keep things rolling.

Most of the performances are thoroughly adequate, and blocking by director Barbara Hall keeps the action front and center most of the time, with royal figures installed in side boxes at the top of the second act adding a whimsical touch for the European tour montage. It helps that Charlie Davenport (Richard Puscas) announces each scene change in Peter Stone’s revision of the book, so the flow is pretty smooth. There’s a lot to like. Visually, it’s entertaining; aurally, too often not.
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