No Foolin’
"The Royal Reset: A Journey Back to the Arts." By Summer Brinley
There are some nights where all I need is a theater seat, a program, and zero notifications. One of my favorite places to do this is at The Royal Theatre in Benton. The unique experience at this theatre takes you back in time the minute you walk through the lobby doors. The scent of buttery nostalgia from the concession stand becomes a theater-hall incense of comfort. A memory you can’t quite place. This beautifully reclaimed cinema, turned performance space, still breathes that Golden Age of Hollywood. You can almost hear the ghost of a film projector humming behind the balcony. The Royal Theatre is a vintage jewel box, complete with a marquee that makes every performance feel like a historic event. You truly can’t have this type of theatre experience anywhere else.
This is the perfect atmosphere to stage a show like Annie Get Your Gun. The relationship between Annie Get Your Gun and the Golden Age of Hollywood is a tale of backstage drama, iconic stars, and the sheer power of show business. While it began as a smash-hit Broadway musical in 1946, its journey to the silver screen in 1950 became one of the most famous (and troubled) chapters in Hollywood history. A master move for The Royal to add Annie Get Your Gun to their season line up. The musical’s most famous song, “There’s No Business Like Show Business,” written by Irving Berlin for the stage, became the unofficial anthem of this Golden Age of Hollywood.
If you’re not familiar with this musical, think of Annie Get Your Gun as the original “anything you can do, I can do better” showdown—literally, that’s where the song came from. At its heart, Annie Get Your Gun is a classic tale of competitive romance and the clash of egos. This battle of the sexes is the ultimate showdown between a woman who is naturally gifted and a man whose identity is tied to being the “top dog.”
This is a high-energy romp through the life of Annie Oakley (Katie Choate), a backwoods sharp-shooter who’s rough around the edges, but can out-shoot any man in the county. When she gets discovered by Buffalo Bill’s Wild West Show, she falls head-over-heels for the show’s star marksman, Frank Butler (Sean Grigsby).
Sitting back with my Retro popcorn box, candy, and soda- the show started off with the most hilarious introduction I’ve ever experienced in live theatre. Before the Overture even began, we were wildly entertained with Charlie Davenport’s (Matthew Burns) interpretation of theatre etiquette “do’s & don’ts.” I caught myself still laughing throughout the beginning of the show. This was a brilliant way to capture the audience from the start.
The opening of “There’s No Business Like Show Business,” was indeed a show stopper. All of the choreography had the essence of classic Broadway styling, and I give so much praise to Reagan Hammonds Turbyfill on this execution throughout the show. This was a fun introduction of each storytelling character and ensemble member. The look of “rough-and-tumble” frontier wear that transforms to “Wild West Show glamour” really makes you wish you dug that cowboy hat out of the back of your closet for the night. My southern draw definitely had a little more “twang” to it by the end of the night.
The Boundless Pro
Sean Grigsby (Frank Butler) took his role as leading man and captivated us with his classic velvet-lined voice from the very top of the show. Grigsby’s vocals pull you into a different time and place. His voice doesn’t just fill the room; it transforms it. He possesses a silver-screen resonance that feels like a bridge to a more elegant era. He was cast perfectly for this role, and brought so much life and hilarity to this character. As well as being the leading man, Frank Butler is a tad villainous. Frank’s views on love are famously summed up in the song “The Girl That I Marry.” He envisions a wife who is “soft as pink satin” and “cooks and sews.” Grigsby played each dynamic flawlessly. Grigsby showed that Frank is actually terrified of how much he admires Annie’s strength, using his “traditionalism” as a shield because he’s never met a woman like her before. Grigsby masterfully deconstructed Frank Butler’s ‘guns a-blazing’ ego, trading bravado for vulnerability with seamless grace. It takes a well seasoned actor to portray a character that makes the audience laugh, swoon, and drum up the desire to chunk their shoe at their face before Act I is over. Grigsby’s performances continue to be entirely organic and he is a performer to keep your eye on.
She’s Magnetic
The minute Katie Choate (Annie Oakley) took the stage I was utterly captivated; I couldn’t take my eyes off her for a second. I wasn’t seeing a character, I was seeing Annie. From her sound to her body language, I was watching one of my favorite parts of any actor’s transition—”she’s in it.” Not only did Choate have to learn 14 different musical numbers, including multiple solos, she had the responsibility of telling the complex story of Annie Oakley. There’s the “Wild” Annie and the “Star” Annie. Two character arcs that Choate plays beautifully. Stepping into a leading role is about much more than just having the most lines or the biggest solo. It’s a high-stakes balancing act that requires vocal endurance, emotional stamina, and a specific kind of leadership. I never saw her struggle or falter. Choate’s execution of Annie Oakley was resilient. She packed a flawless exterior, with a draw of letting us in on Annie’s more vulnerable moments. What a comedic undertaking! Annie Oakley is a character actor’s dream, with hilarious one-liners and countless reactions. I never stopped smiling. “Moonshine Lullaby” was one of my favorite scenes of the night. Choate’s smooth tone was gorgeous. I couldn’t look away. While I have always admired Choate’s work, this performance marks a breathtaking new chapter in her artistry. She has reached a level of sophistication and grace that is thrilling to witness.
The combination of Katie and Sean’s love for this artform created a heartwarming type of chemistry that you don’t see often. They were witty, playful, and had effortless sharped-tongue banter. “Anything You Can Do” was my biggest anticipation of the night, and I was blown away! As we were laughing through the tension between Annie and Frank, their character energy was perfectly matched from beginning to end thanks to these two performers. It is rare to see actors handle such challenging material with that level of comedic timing. They both managed to honor the intricacy of the script without ever losing the humor. A true masterclass in balance.
My highlight was the absolute hilarity of Dolly Tate’s (Jessica Miller) villain- saboteur performance. The entertainment was endless. Miller hit every mark perfecting the jealous, prejudiced, and prickly personality of Dolly Tate. Miller has a memorable “Carol Burnett-esque” type of performance physicality that I admire.
An Ensemble to Reckon With
I was blown away by the amount of talent and diversity in this ensemble. So many of them wore several different hats, and you could tell they were all having a blast! From the charming combination of Winnie Tate (Rylee Woodard) and Tommy Keeler’s (Marseiko Jackson Jr.) rollercoaster of a young love story, to the unforgettable money hustling scheme between Charlie Davenport (Matthew Burns), Buffalo Bill (Seth Hawkins), Chief Sitting Bull (Sa’teh Abdul), and Pawness Bill (Carl McBride)--I was thoroughly impressed. I was told this was Seth Hawkins theatre debut, and I still think someone is lying! His voice and presence was made for the stage. I can’t wait to see what he does next! This supporting cast and ensemble brought back classic comedy in a new light. Every side eye, obnoxious gesture, and punch lines had me rolling. I love a cast of all ages and these younger performers really delivered. Dawson Claire Jones (Jessie), Maddox Easterly (Nellie), and Malachi Thompson (Little Jake) brought memorable vocals and an adorable wild wild persona playing opposite Annie Oakley.
Featured roles played by Katrina Taylor, Ben Wright, and Haddie Hinson are not to be missed.
A special shout out: Connor Heyl—you’ve got it kid! You had me laughing from beginning to end. You knew exactly how not to steal focus, but add to every background character you played. Kudos!
So grab your boots, cowboy hat, and head to The Royal Theatre in Benton to experience Annie Get Your Gun. You’ll have a night of laughs with this western romantic comedy –wrapped in sequins and set to some of the most famous music ever written.
“No foolin’!” –The cast and crew of Annie Get Your Gun at The Royal Theatre, knocked it out of the park……or shot that dadgum clay pigeon from the sky. Whichever one, a huge thank you for bringing classical theatre to life with your passion, dedication, energy, and heart.