With very few offerings across the state for theatres large enough to justify national tour seasons of musicals in the short-but-well-visited run periods that Queensland typically receives – you can bet that the Queensland Performing Arts Centre (QPAC) Lyric Theatre would be hotly in demand for the summer school holiday window. For 2025/2026, that musical has been Annie the Musical from Crossroads Live Australia, marking an end to the national tour which began earlier last year – and features some significant names in Australian theatre – Anthony Warlow, original “Yellow Wiggle” Greg Page and, relevant to this article, Debora Krizak in the antagonistic role of Miss Hannigan. Having last interviewed her more than a decade ago when she performed as Erma in Anything Goes, I appreciate the opportunity to catch up with her, to see how she has found her time with her newest role.
Debora Krizak has an expansive history in Australian musical theatre, with some of her previous musicals over the past decades including the aforementioned Anything Goes, Billy Elliot the Musical, Sweet Charity, We Will Rock You and more. From her experiences working with some of Australia’s next generation of talent, to her time with Annie the Musical as it enters its final weeks – read on for the full interview transcript!
You’ve been touring with Annie for a while now. How has the journey treated you so far?
It’s been a whirlwind. The whole year has disappeared before my eyes. It’s very easy for the weeks to start blending together when you’re in 8 shows a week mode. The few days off you get are usually spent relaxing and recuperating. There’s not much of a life outside of the theatre.
We are coming up to the half-century anniversary of Annie. Why do you think the production has managed to stand the test of time, and what are your earliest memories of the production – whether theatre, film or otherwise?
My first memory of Annie was when I was a young girl at my local dance school. I always gravitated to character roles, in particular comic actors, and loved studying them. One of the first shows my local dance school put on was ANNIE. I got the role of Hannigan at age 13 and was bitten by the musical bug. Carole Burnett was a huge inspiration to me as a physical comic, and my study in dance really helped me to develop those skills. All these years later, Annie still stands the test of time because it’s a story about hope and resilience. Something all of us need in the world. Not to mention the musical score. Many people grew up listening to the soundtrack of Annie and it’s wonderful to see new generations falling in love with these iconic songs.
What have been some of the highlights and perhaps learnings that have come with your time on the 2025-2026 Australian tour of Annie?
Opening night in Sydney was really special. It’s my home town and nothing beats getting to perform the material in front of an audience for the first time. I would say another highlight for me personally, was getting to meet the animal trainers and getting to know the beautiful dogs Sandy and Daisy. There’s no such thing as a bad day when you have animals around.
How has it been working with two different groups of Australian youth in the role of Annie and her orphans so far, and what are your first impressions of those you are performing alongside in Brisbane?
There’s actually been three different sets of orphans in Sydney and Melbourne and two in Brisbane, along with a total of 6 different Annie’s. They’re all brilliant kids. A different breed of kids. They’re thrust into this adult world where it’s very rigid and it’s the same thing every night. They have to be disciplined and focused. I’ve loved getting to work with all the kids. Each city of kids brings their own energy. It always sad saying goodbye at the end of a tour. It’s important for me to be a good role model for them.
Out of mere curiosity I must ask… does portraying one of a show’s main antagonists provide a different experience to say, any other normal character in another production?
I’ve always been cast as the funny side kick or most recently as the wicked villain. Seems to come with age! I wouldn’t have it any other way. There are so many layers to these characters. I think I would have found it hard to play the pretty ingenue. I’ve always been a bit quirky. One of the lovely revelations about playing Hannigan is that she doesn’t hate the kids, she hates her life. She’s an alcoholic, not a drunk. Playing a drunk is easy. Playing an alcoholic that is trying to conceal her habit and pain is an entirely different approach. That comes from within and allows for some of that ugly vulnerability to shine through.
How did you find your version and approach to portraying Miss Hannigan?
I start with finding the voice. Then I find the physicality. Then I learn the lines parrot fashion and really quickly so that it’s muscle memory in my mouth and I don’t have to worry about remembering lines. The rest evolves in the rehearsal room with the director and my fellow actors.
Hannigan’s relationships drive so much of her world – with the orphans, with Grace, with Warbucks. Which relationship has been the most interesting to play and explore on-stage, and why?
I would have to say the Rooster and Lily combination has been the most interesting. There is a disdain for them but Hannigan also sees Rooster’s plot as her meal ticket out of the orphanage, so at that point the relationship becomes more cohesive. Making sure we never looked too comfortable as brother and sister and that there was still some menace between us was challenging at times.
Without giving away spoilers for any first-timers in Brisbane, is there a particular beat or musical moment you still can’t wait for the audience to experience each night, and why?
I’ve got some great one liners. Most of them are in the scene with Grace when she comes to adopt an orphan. Then there’s Easy Street which is always a showstopper.
When you’re doing this role night after night, what helps you keep Hannigan feeling “alive” rather than letting it slip into autopilot?
I’m always trying to do better than the night before. Once the show is set, there isn’t a lot of room to change things within that so it becomes about reacting to your fellow actors. No two shows are the same as far as that is concerned. Add the audience element and they may laugh loudly at one thing one night and not the next. Timing is everything with comedy. But it’s being able to instinctively feel when to land the line so it gets maximum pay off. Before each scene I think about what Hannigan’s mental state is and where she’s coming from.
From voice overs to cabaret to television, you have a colourful background in different facets of the arts industry. What do you see as some of the defining moments in your career so far?
There are a few. Being cast in my first professional musical. Getting the call telling me I’d been cast in The Producers was a moment I’ll never forget. No one ever forgets the first time you get offered a professional contract. I remember my first understudy role and having Hugh Jackman in the audience the first time I went on. The next one would be playing Sheila in A Chorus Line. That changed my life. I remember being nominated for a Helpmann award for the first time and sitting at the opera house as a nominee while the television cameras whirled around me.
Then there was launching the Hayes Theatre with the inaugural production of Sweet Charity, getting to play the dual roles of Nicki and Ursula. That was a wild ride and one that I’m very proud to have been associated with. And of course, getting the call from the producer directly to say I’d been cast as Miss Hannigan was up there with the best of them. I remember the exact time, day, and the words exchanged. I also remember sending my new agent at the time, a late night message with a champagne emoji and a “call me” text. She didn’t respond as she assumed I was just out drinking and sending a cheers! When I finally got hold of her it was a very different cheers!
What is your advice for those who are perhaps looking to follow in your footsteps and pursue a career in the performing arts industry?
Train hard but always remember success is often “preparation meets opportunity meets luck”. It’s very rarely all about talent. Pay attention to the business aspect of your work. Network. Show up to classes run by industry choreographers and professionals. Go and see shows and not just the modern ones. Old school musical theatre is a dying art form. It’s rare to find places teaching this kind of theatre but the old revivals are alive and well! Say yes to everything while you’re starting out. You never know what connection will lead you to your next gig. Give 100% always, even when you’re tired and exhausted. Get to know your crew. Treat everyone with the same amount of respect. Say hello. Be inclusive. You can be the greatest talent on stage but if no one enjoys working with you, that’s going to translate in an audition room.
With an extensive history performing on stage, what do you love most about the industry, and what has kept you performing for so long?
There’s a lot I love and a lot I don’t love. I love making people laugh. I love creating characters and bringing something to the table that is uniquely me and not a copy of someone else’s work.
I love being part of a collaborative team to bring a show to life and create magic each night. There’s a downside too. Missing out on life events because you are committed to 8 shows a week, travelling the country. Maintaining the discipline to be able to perform your role with the same energy and passion night after night. There’s no “off” switch – you have to remain physically, vocally and mentally disciplined. I’ve only managed to keep performing for so long because I relinquished control. Learning how to let go when something doesn’t go your way is tough. Auditions are tough. Getting down to the last two actors for a job is tough. Wondering when the next pay check is coming from is tough.
But we’re resilient and we’re creative. I’ve created work for myself outside of the industry. It’s often in these “real job” moments that the next big gig will come along. Being good at losing is as important as being good at your job. If you’re not comfortable with losing, you’d give up. I just never gave up. I’m what you’d call a “professional loser”. I got where I am the hard way. I would never have gotten into WAAPA or any of those institutions. I cut my teeth touring in a comedic glam rock band in my 20’s, built chords of steel, wound leads and cables until 3am and just kept showing up.
Rapid-Fire Questions
Favourite Song in Annie?
Tomorrow
Favourite moment in the show?
Annie and Warbuck’s waltz moment
Favourite piece of choreography in the show?
Easy Street of course!
Favourite outfit/costume in the show?
The iconic red dress
Favourite piece of staging / set design / lighting?
It’s hard to beat the aesthetic design and beauty of NYC
First impressions when walking into rehearsals on the first day?
We went straight into a table read of the show and I remember thinking wow these kids are amazing.
Favourite line of dialogue you get to deliver?
“Did I hear happiness in here?”
Favourite fun fact about Annie’s Australian tour?
We have two dogs playing Sandy – one is actually called Sandy and is a boy, the other is a girl named Daisy.
Favourite pre-show ritual or routine?
Suck on a lozenge and practise saying “Oliver Warbucks” really fast in an American accent. It helps get my tongue around all the “R’s” which can be challenging.
Favourite moment with the cast/crew so far?
When the orphans in Sydney took on the roles of the adult cast and recreated the show for us. Was very funny having an 11-year-old playing Miss Hannigan!
Imagine you are a reviewer of Annie the Musical, what would you say is the major highlight of the production?
The cast. When they cast it right, a musical can soar. And this one has certainly been a highlight. Everyone is at the top of their game.
I would like to extend my sincerest gratitude to Debora Krizak for being so generous with their time, and sharing fresh insights about themself and their time with Annie the Musical. I wish them all the very best with the Brisbane leg of the tour, and what comes next. I would also like to thank the musical’s production team, Crossroads Live Australia, and the show’s Brisbane publicist, Cinnamon Watson, for facilitating this interview opportunity.
Annie the Musical is currently being performed this month only at the Queensland Performing Arts Centre (QPAC) in Brisbane. If you are interested in attending a performance, all ticketing information can be found on the musical’s official website.
Want to know my perspective on Annie the Musical? Check out my full review!
