Grand performances, stunning staging and striking costuming characterise a musical adaptation of the 1997 animated film of the same name. The story concerns a legend surrounding the Grand Duchess Anastasia Nikolaevna of Russia.
The tale begins in St Petersburg in 1906 when the Dowager Empress Maria Feodorovna Romanov (Nancye Hayes) bids farewell to her youngest granddaughter. The Dowager Empress is moving to Paris, but before she does she gifts Anastasia a music box.
Eleven years later, as Anastasia is attending a ball with her family, the Bolsheviks invade the palace and the ruling Romanov family is wiped out. In 1927, with a new regime in charge, St Petersburg has been renamed Leningrad and is poverty stricken.
General Gleb Vaganov (Joshua Robson) is tasked with resurrecting the city. Rumours abound that Anastasia survived the purge. The Romanovs were no friends of the general’s family. Indeed, his father was one of the soldiers who shot them dead.
Meanwhile, two con men hatch a plan to groom a girl to become Anastasia. Handsome Dmitry (Robert Tripolino) and Vlad Popov (Rodney Dobson), a former member of the Imperial Court, want to extract money from the Dowager Empress.
But they find no suitable candidates until a street sweeper named Anya (Georgina Hopson) – suffering from amnesia – belatedly enters the frame. Many obstacles remain, as General Vaganov is hot on the trio’s tail and the Dowager Empress is sick to death of Anastasia impersonators only after her money.
With music and lyrics by Stephen Flaherty and Lynn Ahrens, and a book by Terrence McNally, Anastasia is quite the spectacle – visually and aurally sumptuous.
Georgina Hopson brings emotional depth and golden tonsils to her depiction of the heroic and feisty Anya. Robert Tripolino is charismatic as the orphaned Dmitry, who brought himself up on the streets of St Petersburg. There is a most attractive timbre and tone to Rodney Dobson as the resilient Vlad.
Joshua Robson has resonance and bite as the general with a hard legacy. With humorous flourishes, Rhonda Burchmore is a scene stealer as the Dowager Empress’ attendant and confidante Countess Lily, an old flame of the roguish Vlad. The indefatigable Nancy Hayes has gravitas as the sorely tested Dowager Empress.
Vocal strength and excellence are brought to bear by the principals and ensemble. Well-choreographed dance numbers – think Cossacks and ballet for starters – add show. Peggy Hickey is the choreographer and Nathan Pinnell the resident choreographer.
Aaron Rhyne’s video design is a dominant force throughout, transporting us from an opulent palace setting to the rough and ready streets, and Paris in full bloom. Among the many highlights is a ghostly sequence. Coupled with Alexander Dodge’s set design, it is a winning combination – redolent and mighty appealing.
From lavish gowns to the down and out, Linda Cho’s costume designs are breathtaking. Characterisation is ably assisted by Charles G. LaPointe, who is responsible for hair and wig design.
Throw in several catchy melodies, with musical director Anthony Barnhill leading a talented orchestra, and you have a splendid production. It is rounded out by impressive sound and lighting design from Peter Hylenski and Donald Holder respectively.
Anastasia is a moving tale of upheaval, perseverance and love that resonates strongly. Director Darko Tresnjak keeps the action flowing in a thoroughly triumphant production. Anastasia is on at the Regent Theatre until 20th February, 2025.
Alex First
Other reviews you might enjoy:
- Bananaland (Brisbane Festival and QPAC) – theatre review
- Joseph and the Amazing Technicolor Dreamcoat (Regent Theatre) – theatre review
- Manon (The Australian Ballet) at Regent Theatre – ballet review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
