Review by Tim Garratt
In 1918, the entire Romanov royal family was executed by Russian revolutionaries, ending more than 300 years of absolute monarchical rule. Almost immediately after the murders, rumours began circulating that Tsar Nicholas II’s youngest daughter, the Grand Duchess Anastasia, had survived the killings and fled Russia.
Several women came forward claiming to be the lost Russian princess, fuelling the legend of Anastasia’s survival. While DNA testing in more recent times confirmed that Anastasia died alongside her family, she has become a mythic figure. Recounted and embellished over decades, tales of her escape inspired a 1997 animated film (by 20th Century Fox) and now a musical, Anastasia, which opened in Sydney on Friday night.
In this musical adaptation, we meet con artists Dmitry (Robert Tripolino) and Vlad (Rodney Dobson,) They learn that Anastasia’s grandmother in Paris, the Dowager Empress (Nancye Hayes), believes her granddaughter is still alive and has been offering a reward for her safe return. They hatch a plan to find a young woman who can convincingly assume Anastasia’s identity and claim the reward. They find Anya (Georgina Hopson), an amnesic wandering the capital, and decide she fits their purpose. Will the scheme succeed and, in the process, will Anja come closer to discovering her own true identity?
Terrence McNally’s book sketches an early twentieth-century Russia that glosses over the fact of the oppressive Romanov rule that spawned the subsequent revolution and the collapse of the monarchy. Its characters are thinly drawn, and the second act in particular falters in developing the narrative. But if you can cast aside any expectation of historical rigour, Anastasia offers wonderfully entertaining musical theatre.
Composer Stephen Flaherty has penned a flowing, melodic score that effectively evokes pre- and post-revolutionary Russia. The recurring Once upon a December stands out, reprising throughout as a haunting and beautiful motif, while In my dreams is a melancholic early highlight, in which Anya laments her lost memory and identity. Stay, I pray you is perhaps the show’s most substantial number, echoing Anatevka from Fiddler on the roof in its depiction of exile and loss. The score is brought vividly to life here by a 10-piece ensemble under the musical direction of Anthony Barnhill.
The visual world of Anastasia is also highly appealing. Alexander Dodge’s set pieces and Aaron Rhyne’s video design work together seamlessly, nodding to the musical’s animated film roots and shifting events fluidly between Russia and Paris. Linda Cho’s costumes are richly realised, ranging from the extravagant, jewelled attire of the Russian royals to the stark, imposing uniforms of the Bolshevik secret police. Donald Holder’s lighting ties these elements together with crisp precision.
Hopson makes a compelling Anya, instantly likable as the drifter in search of self, with a soprano that glides through the score. She makes light work of the show’s signature number, Journey to the past, and anchors the production with confidence. Tripolino is one of the company’s greatest assets as Dmitry, an opportunist whose depth and integrity emerge as the story unfolds. His is a finely judged performance that leaves a lasting impression. As Dmitry’s partner in crime, Dobson brings a seasoned performer’s touch to a spirited, crowd-pleasing Vlad.
Joshua Robson is well cast as Gleb, a career officer in the Bolshevik Secret Police characterised by a near-obsessive commitment to protecting Russia’s post-revolutionary state. His baritone is deployed to impressive effect. Hayes brings elegance and stately poise to the Dowager Empress with effortless command, and Rhonda Burchmore (as Countess Lily) brings signature comedy to the Paris club scenes.
Anastasia is a polished and enjoyable piece of musical theatre, lifted by a well-crafted score and an excellent cast, and can resonate across generations through its quietly affirming sense of beauty.
Anastasia is now playing at the Sydney Lyric and will move to Adelaide’s Festival Theatre in August, followed by Brisbane’s Lyric Theatre in September. Click here for more information.
