in the musical 'annie' which president does annie meet
Annie (musical) Warbucks brings Annie to Washington, D.C., where she requests to meet the president. Warbucks thinks that it would be better if Annie waited outside, but Franklin D. Roosevelt asks her to stay. She begins to sing "Tomorrow", though shushed by the cabinet. Roosevelt, however, believes that people must be optimistic during tough times, and commands them to sing ("Tomorrow" Cabinet reprise). Once back home, Warbucks tells Annie how much he loves her ("Something Was Missing"). Because her parents have not shown up, he announces he would like to adopt her ("I Don't Need Anything But You"). They decide to throw a Christmas party, and Annie wants to invite Miss Hannigan and the orphans. While preparing, the delighted staff tell of how her arrival has changed their lives ("Annie").
Musical theatre The show's creativity stimulated Rodgers and Hammerstein's contemporaries and ushered in the "Golden Age" of American musical theatre.[59] Americana was displayed on Broadway during the "Golden Age", as the wartime cycle of shows began to arrive. An example of this is On the Town (1944), written by Betty Comden and Adolph Green, composed by Leonard Bernstein and choreographed by Jerome Robbins. The story is set during wartime and concerns three sailors who are on a 24-hour shore leave in New York City, during which each falls in love. The show also gives the impression of a country with an uncertain future, as the sailors and their women also have. Irving Berlin used sharpshooter Annie Oakley's career as a basis for his Annie Get Your Gun (1946, 1,147 performances); Burton Lane, E. Y. Harburg and Fred Saidy combined political satire with Irish whimsy for their fantasy Finian's Rainbow (1947, 725 performances); and Cole Porter found inspiration in William Shakespeare's The Taming of the Shrew for Kiss Me, Kate (1948, 1,077 performances). The American musicals overwhelmed the old-fashioned British Coward/Novello-style shows, one of the last big successes of which was Novello's Perchance to Dream (1945, 1,021 performances). The formula for the Golden Age musicals reflected one or more of four widely held perceptions of the "American dream": That stability and worth derives from a love relationship sanctioned and restricted by Protestant ideals of marriage; that a married couple should make a moral home with children away from the city in a suburb or small town; that the woman's function was as homemaker and mother; and that Americans incorporate an independent and pioneering spirit or that their success is self-made.[61]