Just when you think the Grinch might steal your Christmas with countless headlines about unemployment, recession and a "fiscal cliff," along comes "Annie" to the rescue.

Set in Depression-era New York City when economic times were much worse than today, Diamond Head Theater’s production of "Annie" combats any current-day malaise with humor, love and optimism, assuring us that no matter how bleak things may look, "The sun’ll come out tomorrow."

The 1977 Tony award-winning musical by the team of Charles Strouse and Martin Charnin is family-friendly fare based on the characters in Harold Gray’s popular comic strip "Little Orphan Annie." The title role is played by Riley Newton, a sixth-grader at Manoa Elementary, whose clear, strong singing voice ensured the capacity audience on opening night that an enjoyable evening’s entertainment was in store.

She is accompanied in her escapades by an endearing ensemble of orphans (Kira Stone, Erisan Awaya, Stephanie Zaharis, Kaili Delos Santos, Lani Matsumiya and Kiara Reeves), who lament their depressing life in the orphanage in a well-choreographed rendition of "It’s the Hard-Knock Life." (Stone will assume the lead role on some nights.)

The creators of "Annie" ignored W.C. Fields’ advice to never work with children or animals by adding a scene-stealing dog named Sandy (played by Phoebe) who elicited an "awww" from the crowd at every entrance.

Despite all those kids and a dog onstage, the adults held their own. Lisa Konove portrays the inebriated Miss Hannigan, who runs the orphanage. She hit her comedic stride when joined by her brother, Rooster (Drew Tandal), and his floozy Lily (Leiney Rigg) in a campy, bump-and-grind rendition of "Easy Street."

Autumn Ogawa’s portrayal of Oliver Warbucks’ secretary, Grace Farrell, was near flawless. Her confidence, poise and beauty combined with a crystal-clear voice to make her every businessman’s dream secretary. Chris Gritti, as Oliver "Daddy" Warbucks, makes a convincing tycoon whose stiff facade is shattered by the plucky, cheerful orphan Annie. Her Christmastime visit to his mansion starts out as a publicity stunt but becomes a lasting relationship when she steals his heart.

The remaining ensemble took on the various roles of maids, servants, shoppers, hobos and radio entertainers with alacrity and aplomb. The vocals and choreography were smooth and sure but for an occasional opening-night hesitation at a few entrances. The fine band, under the experienced direction of Emmett Yoshioka, was crisp and well balanced.

While there are no Christmas songs in the show as there are in musicals such as "Mame" ("We Need a Little Christmas) or "Meet Me in St. Louis" ("Have Yourself a Merry Little Christmas"), Annie’s Christmas visit to the Warbucks estate, all decked out for the holidays, makes this production a marvelous gift that is sure to please.

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Gregg S. Geary is a musicologist and music librarian serving as interim university librarian at the University of Hawaii at Manoa.