ANNIE is without doubt one of the greatest American musicals and ideal to grace the stage of the New Theatre over the festive period.

Presenting a feelgood tale, with a strong Christmas theme, the show hits the mark every time for audiences seeking the seasonal spirit.

Sentimental? Supposedly so, but we see nothing of that in the story of a red-headed orphan who wins the heart of a good-sort billionaire and thereby helps save a nation.

In his elegant extrapolation of the Little Orphan Annie cartoon strip the book’s writer, Thomas Meehan, tackles some powerful political themes.

And while it might not entirely convince us when the winsome Annie’s hope for a better tomorrow comes to set the tone for President Franklin D Roosevelt’s New Deal policy, we are prepared to suspend disbelief to the degree of thinking this just might be so.

Performances here are quite startling across the board, of which more in a minute.

Meanwhile, let me lavish praise on the designs of Colin Richmond, wonderfully lit by Ben Cracknell, which shift us seamlessly from the seedy orphanage of Annie and her pals, to the glories of billionaire Daddy Warbucks’s mansion by way of hell-hole Hoovertown, home to victims of the Slump.

We can only marvel at the performances of the seven young girls on whose efforts the success of the production principally rests.

There are three teams of them, the one on press night composed of Scarlett Flannery, Kate Woodman, Mia Hope, Asha Banks, Scarlet Churchhouse and Nikoo Saeki as the pint-sized Molly.

This team’s Annie is the amazing Isabella Pappas, a 12-year-old with all the pizazz, the star quality and certainly the voice of a mature performer. As presented by her, Annie’s power to charm all who she meets is utterly convincing.

There are fine performances, too, from all the adults. Jodie Prenger gives us a superbly over-the-top villainess in orphanage owner Miss Hannigan. You’ll love the moment when she quits the stage, after another triumph by Annie, to stage a screaming fit in the wings.

Jonny Fines as her conman brother Rooster and Djalenga Scott as his moll are likewise relishable baddies.

What a contrast comes with the impossibly loaded Warbucks (Alex Bourne in superb voice) and his sweet natured secretary Grace (Holly Dale Spender). Compliments as well for the performance of Lewis Bradley as radio show host Bert Healy.

Until January 3.

5/5