Tag Archives: Charlie McCullagh

Annie Get Your Gun

Annie Get Your Gun


Lavender Theatre

ANNIE GET YOUR GUN at the Lavender Theatre


Annie Get Your Gun

“SuRie, as the gun-toting Annie, carries the show – nailing her character with gunslinging accuracy.”


There could potentially be a fair bit to censure in the 1950s American musical, “Annie Get Your Gun”, especially with modern audiences whose awareness of racism, sexism and cultural sensitivities have shifted since the musical was written. And Irving Berlin’s “The Girl That I Marry” would surely get even the laziest feminist pounding her twitter feed in rage at its undisguised misogyny and condescension towards women. And throwaway jokes about swindling Native Americans out of their oil? Come on! But that is a debate I’m not entering into here. Except to say that the creators behind the inaugural season at Lavender Theatre have rightly decided that we have the wit and imagination to know that we are watching something from a different age. We can cope. And Simon Hardwick’s production, surrounded by the purple haze of lavender fields, shoots down any pre-packed misgivings that people may have in a feel-good blaze of escapism and classic entertainment.

It’s hard to come across a more winning opener than “There’s no Business Like Show Business”, which builds from its mellow summer breeze into a gusty and gutsy chorus, framing the story within Buffalo Bill’s Wild West touring show. Elliot Broadfoot’s impressive presence as Buffalo Bill Cody keeps a tight rein on the action, pinpointing the chapters of what is essentially a good old-fashioned love story. Annie Oakley (SuRie) rocks up into a small town in Ohio, and with her extraordinary shooting skills, catches the attention of champion marksman Frank Butler (Charlie McCullagh). The two are instantly smitten, but when Annie’s rising star begins to outshine Frank’s, the trouble starts.

SuRie, as the gun-toting Annie, carries the show – nailing her character with gunslinging accuracy. Gamine, yet sassily aware of her femininity, her charisma hangs over the stage like aromatic gunpowder. SuRie is clearly “Doin’ What Comes Natur’lly”. Equally believable is McCullagh’s Frank Butler. The chemistry between the two cautions us to stand back while sparks fly yet draws us in close to get a true feel for their inescapable magnetism. Drawn into their orbit are a fine cast. Frank’s spurned, scheming assistant, Dolly Tate, is gilded with Chlöe Hart’s comedic flair, while Jay Faisca’s ‘Chief Sitting Bull’ has a self-deprecating gravitas that gives a nod and a wink to the caricature he could be, yet still staying believable.

The open-air setting lends an appropriate festival feel, though more village fete than rodeo. It is as the sun sets that the magic filters through, conjured by and large by Berlin’s iconic songs. The classic foot tappers cannot fail to plant a smile on us, while the more stripped back, softer numbers dig deeper. SuRie’s vocals come into their own during “Moonshine Lullaby”, for example, or “I Got Lost in His Arms”, before rising to the duel of “Anything You Can Do (I Can Do Better)” with McCullagh – a fabulous moment of affectionate rivalry and harmonic one-upmanship.

Everybody wins. The guy gets the girl, and the girl gets her man (after learning, of course, that “You Can’t Get a Man with a Gun”). The real winners are the audience. It is a little bit out in the sticks, but that shouldn’t stop anyone making the effort to get there. “Let’s Go On With the Show… Everything about it is appealing”. The newly formed Lavender Theatre are on to a winner with this well aimed revival, that hits the mark.



Reviewed on 21st July 2023

by Jonathan Evans

Photography by Harry Elletson


Recently reviewed by Jonathan:


Once On This Island | ★★★★ | Regent’s Park Open Air Theatre | May 2023
Gypsy | ★★★★★ | The Mill at Sonning | June 2023
Robin Hood: The Legend. Re-Written | ★★ | Regent’s Park Open Air Theatre | June 2023
Stumped | ★★★★ | Hampstead Theatre | June 2023
Tarantino Live: Fox Force Five & The Tyranny Of Evil Men | ★★★★★ | Riverside Studios | June 2023
The Crucible | ★★★★ | Gielgud Theatre | June 2023
The Mikado | ★★★★ | Wilton’s Music Hall | June 2023
The Swell | ★★★★ | Orange Tree Theatre | June 2023
The Third Man | ★★★ | Menier Chocolate Factory | June 2023
The Sun Will Rise | ★★★ | Riverside Studios | July 2023
Run to the Nuns – The Musical | ★★★★ | Riverside Studios | July 2023
Operation Mincemeat | ★★★★★ | Fortune Theatre | July 2023


Click here to read all our latest reviews


Elegies for Angels, Punks and Raging Queens

Union Theatre

Elegies for Angels, Punks and Raging Queens

Elegies for Angels, Punks and Raging Queens

Union Theatre

Reviewed – 18th May 2019



“Told in music and verse by the victims and culprits; the heroes and the cowards; the innocent and the culpable, the stories are heartfelt”


Originally titled “Quilt”, this is less a song cycle but more of a poetry reading inspired by the NAMES Project AIDS Memorial Quilt, conceived in 1985 in San Francisco to commemorate the lives lost in the AIDS pandemic. With book and lyrics by Bill Russell and music by Janet Hood it attempts to show some of the sadness and horror that unfurled during the 1980s, but moreover the sense of community, hope and human spirit that always emerges from adversity. Which is what this outing at the Union Theatre brings to the fore. The impressive, sixteen-strong cast inject just the right amount of humour in order to quell the anger, and the result is a celebration rather than a rant.

Director Bryan Hodgson has set the production at the Memorial Quilt (which has since moved from San Francisco to Washington) and has the cast add their own panel to the tapestry on Justin Williams’ simple but effective square-box set as they each tell their story, so at the end of the show we have the full picture. It is a neat, personal touch that, while obviously not matching the scale, reflects the ongoing ideology. The Quilt itself is the largest piece of community art in the world, with each of the panels the size and dimension of a grave. Still growing, it receives at least one extra quilt panel per day.

Like the Quilt, this is a piece that lends itself to continued revision and, as was pointed out in the final rather ‘happy-clappy’ closing moments of the show, the aftermath is still with us. Until that moment, the richness of the evening was intact, held together by the rich thread of the vignettes. Told in music and verse by the victims and culprits; the heroes and the cowards; the innocent and the culpable, the stories are heartfelt. To slip into a kind of evangelism slightly spoils the effect. It is always a challenge to get the balance right with this sort of theatre, where the message is as important as the means.

The cast members are all skilled hands at this balancing act; measuring out the moments of comedy with the right blend of darkness, and knowing when to ask us to take things seriously or whether just to delight us with a skilled offhand observation. Sometimes the sincerity of the performances were at odds with the slick, stylised lighting (Alex Musgrave) and sound design (Henry Brennan), but the commitment of the actors outshone these quibbles, and their belief in the material manages to rescue the show when it steers too close to sentimentality.

After all, they are here to celebrate, not mourn. And Elegies for Angels, Punks and Raging Queens at the Union does just that.


Reviewed by Jonathan Evans

Photography by Mark Senior PR


Elegies for Angels, Punks and Raging Queens

Union Theatre until 8th June


Last ten shows reviewed at this venue:
Twang!! | ★★★★ | April 2018
H.R.Haitch | ★★★★ | May 2018
It’s Only Life | ★★★★ | June 2018
Around the World in Eighty Days | ★★★ | August 2018
Midnight | ★★★★★ | September 2018
Brass | ★★★★ | November 2018
Striking 12 | ★★★★ | December 2018
An Enemy of the People | ★★ | January 2019
Can-Can! | ★★★★ | February 2019
Othello | ★★★★ | March 2019


Click here to see more of our latest reviews on thespyinthestalls.com