From Wiggle to the White House: Greg Page chats ANNIE
Few musicals hold the same enduring charm as Annie.
Since its Broadway debut in 1977, this heartwarming rags-to-riches tale of a plucky orphan, her loyal dog Sandy, and her life-changing encounter with billionaire Oliver Warbucks has become a staple of the musical theatre canon. In the current Australian tour, audiences are treated not only to the timeless story and toe-tapping tunes, but also to a unique bit of star casting: the role of President Franklin D. Roosevelt. Enter Greg Page, the original Yellow Wiggle and a household name to generations of Australian families.
With a career spanning decades, Greg has brought joy to millions of children and families worldwide through his performances, songwriting, and contributions to the arts.
A trained musician and accomplished vocalist, Greg’s passion for performing began early, and he quickly became a household name as part of The Wiggles. During his time with the group, Greg co-created numerous hit songs, television series, and live tours, helping to cement their place as icons of children’s entertainment.
Beyond his work with The Wiggles, Greg has pursued diverse artistic and philanthropic endeavours. He has appealed on various television programs and on stages, sharing his love of music and storytelling. After surviving a sudden cardiac arrest on stage with the Original Wiggles in January of 2020, he is also a strong advocate for heart health and AED (Automated External Defibrillator) awareness, having established Heart of the Nation, a charitable initiative to promote lifesaving programs.
Known for his warmth, charisma, and deep connection with young audiences, Greg steps into Roosevelt’s shoes with a sense of history and purpose, bringing both heart and heritage to the role. For him, this is more than just a nostalgic return to the stage; it’s a chance to connect with a different kind of audience and continue his legacy of bringing joy through performance.
How has your experience in Annie been so far?
Greg: To be in a musical is something I sort of always dreamed of, but never really thought I’d be able to do. So to have this opportunity, and to be under the under the wing of somebody like Anthony Warlow, who’s been very generous with his time and his knowledge and his guidance has been incredible.
What are some of the key differences you’ve noticed between performing in a children’s entertainment group like The Wiggles and being part of a traditional musical theatre production?
Greg: I think the biggest difference is that with the Wiggles, it could be spontaneous and you could actually improvise a little bit. But with with a musical, you’re stuck to the script and you’ve got to deliver consistency, which is something that I’ve found a challenge. At the same time, I found it a good challenge — For me, that’s the art of musical theatre as opposed to The Wiggles.
What skills or habits from your time with The Wiggles have helped you in musical theatre, particularly in a show like Annie?
Greg: I think just experience on stage and just knowing that even though you are aiming for consistency, it doesn’t always happen that way. So you have to be prepared for things to not go to plan every time, and be able to adapt if you can. I think that’s probably something The Wiggles has taught me to do — to to be able to adapt if needed. Not that I’ve had to many times at all, to be honest, because everybody’s so good at what they do in this show. I think just a general professionalism of being on stage so many times over the years, you get to know that there are certain things you should or shouldn’t do on stage. And I think that that really helps in a cast like Annie.
What’s it been like playing a real historical figure, and how do you balance staying true to who he was with the demands of a theatrical role in a musical?
Greg: Look, that has been a challenge because of that very reason. He’s quite well documented on video and audio, so I take elements of that and I’ve also done a bit of research. I reckon he was a pretty fun sort of guy to be around, Roosevelt [chuckles]. So there’s plenty of pictures of him with a big grin on his face. I think he might have been a bit of a practical joker. But then I think he was also such a revered leader, and he was strong and he was staunch. So I try and channel that in the later part of the show. There’s some great references out there, but there is a bit of responsibility to try and be true to the character to a certain extent, but also recognising that it’s in a fictitious context as well.
How do you approach playing President Roosevelt, who uses a wheelchair, especially coming from the high-energy, physical world of The Wiggles?
Greg: I was talking with Mr. Warlow and his lovely wife Amanda, who’s also in the show, about this the other night. Talking about that sometimes, when you do have those limitations, you feel like you have to be bigger. And they were just saying you don’t always have to be bigger, sometimes strength comes from stillness. I found that little bit of advice really interesting because certainly with The Wiggles, particularly when we played arenas to four or five thousand people, we had to be big on stage, and our choreography was generally big. But with acting, particularly in a smaller theatre, sometimes you don’t have to do so much with your body. It’s interesting that you don’t ever sort of stop thinking about what you’re doing — I’m now consciously making decisions and thinking, “okay, do I need to be as big at this point in time? Do I need to use my hands when I say this or do I? Should I just be still?” It is a challenge acting from the waist up because you are trying to not overcompensate, I guess, for the lack of movement that you have in other aspects.
They say never work with children or animals — but Annie has both! What’s that been like for you?
Greg: We’re really taking the bull by the horns in terms of that phrase! There’s strict rules around both, for good reasons. I’m in awe of the kids. The kids are just such great performers, all of them. I look at them and I just think, “gosh, what they’re doing at their age of, eight, nine, ten, 11 or 12… I don’t I couldn’t have done what they’re doing at that age.” I just am in awe of that. I think they’ve got a big future ahead of them. As far as the dogs go… look, to be honest with you, I’m not a real animal sort of person, so luckily I don’t have to work work with the dogs. I love animals. I think they’re great, but I’m not very good with them. That’s one of the rules when they’re working, that you’re not supposed to engage with them or interact with them, and I don’t have to on stage. It’s up to the little Annies. That’s one thing that we used to do with The Wiggles — working with kids was always very well regulated. We didn’t really work with animals apart from Dorothy the Dinosaur, and there are no real regulations around that!
What do you think it is about Annie that keeps audiences coming back?
Greg: I think it’s the heart of the show. I think it’s about family and belonging. Annie finds a home. It’s about that parental love for a child — you’ve got Warbucks, you know, giving love to this child. But more than that — it’s about hope in general. You’ve got the hope of Annie finding her family, eventually she finds Warbucks, but that underlying spirit of Annie that the sun will come out tomorrow no matter what the day is like, no matter what happens, whatever the future might look like… the sun will always come up tomorrow and we can make of that day whatever we want it to be.
Annie is playing now at Sydney’s Capitol Theatre.
For tickets and more information, please visit anniemusical.com.au
Header photo by Daniel Boud
