What people are saying
“Hazel Vogel, a spirited and spunky Annie who made me smile in remembrance of Andrea McArdle back in 1977”…
” No mere wind-up toy, this 4’6” twelve-year-old is the real deal.”
— Theater Pizzazz
“Vogel is a totally winning Annie”…
“her choices are surprisingly mature and unlike any other Annie I’ve seen before”…
”She infuses the Depression’s hopeful little optimist with an undercurrent of sadness”…”Her “Tomorrow” is an anthem of defiance”
— TheaterMania
“She gave one of the most strong and authentic performances of Annie that I have ever seen. She perfectly captured the courage and vulnerability of this iconic character. Her voice blew me away to the point that I had a hard time believing she was only 12.”
— The Samford Crimson
“Hazel Vogel delivers a true breakout performance in the title role, where she shines bright as a diamond.”
— Digital Journal
“A powerhouse performance filled with charm, spunk, and vocal talent beyond her years. Her rendition of ‘Tomorrow’ is nothing short of breathtaking, evoking hope and optimism that resonates deeply”
— BroadwayWorld
“It’s a thoughtful interpretation, making emotional sense of a comic-strip tale, with a remarkably fine Annie in Hazel Vogel [who] …adds depth to the proceedings [with] a lovely, clear singing voice”
— The New York Times
“With just the first few notes of ‘Maybe,’ I had full body chills. She completely and totally stole the show. There’s more talent in that girl’s pinky finger than in my entire body.”
— Fresno State Collegian
“Vogel brings a refreshingly warm and self-effacing spirit to the typically cloying title character”
— USA Today
Theatre Bloom
Tackling the titular role with rigorous aplomb and a revitalized approach to the ever-optimistic orphan, Hazel Vogel makes an extraordinary Annie. Singing, dancing, performing— you expect the trifecta of brilliance whenever you see a leading character on stage. Vogel delivers it tenfold with her sensational voice, stellar expressions, precision timing, and fluid movements. But Vogel is giving more than just a phenomenal voice— and let me state that again for the people in the back— her singing voice is truly phenomenal; the tonal clarity, consistency, resonance, and overall strength is astonishing. She’s bringing nuance to the character. Vogel doesn’t just bust out into “Tomorrow”, it’s layered with pathos and sentiment, almost like the character isn’t really sure if optimism is the way to go but she’s tried everything else so why not optimism. It’s a fascinating and beautifully functional approach to the character’s ethos. That first blast of “Tomorrow” is no small feat either. Vogel nearly gets upstaged by the hambone Kevin (playing the super-sweet dog, Sandy) who keeps rolling on his back with his head out to the audience with the “look at me I’m a cute dog” look on his face, making Vogel have to razzle and dazzle twice as hard (and boy does she ever) to get the audience back in her lap. There’s an indescribably spunk to Vogel’s portrayal of this iconic orphan, whether she’s waltzing around with Daddy Warbucks, slamming buckets and brooms around the orphanage, or just taking in all the sights on the streets of New York with true wonderment and awe. That is perhaps the most impressive feat of Vogel’s performance— the way she’s able to absorb the scenes around her and reflectively express them back to the audience in her facial features, her body language, her vocal intonation, so that we’re receiving the true ‘Annie’ experience through her eyes as if we’re her up on that stage living that journey. Hazel Vogel has a beautiful voice; “Maybe” and “Tomorrow” prove that hands down. She has an incredible sense of timing and spatial awareness on stage, evidenced frequently throughout the production, and is a true triple-threat-knockout-combo when it comes to musical theatre performance. The sun has come out— today— and her name is Hazel Vogel.
