As a child of the 90s, the animated offerings bestowed upon my generation were an embarrassment of riches. Seeing these films in the theater and watching them hundreds of times on VHS left many imprints on my childhood memories. Just a couple of decades later, our appetite for all things comforting and nostalgic has been whetted by remakes and revivals on both stage and screen.
In that way, it’s no surprise that the opening night of “Anastasia” at Wharton Center felt like a dreamy journey to the past. “Anastasia” will play to audiences at Wharton Center through January 20, 2019.
I still remember seeing the 1997 animated film as a 12-year-old girl in a theater in Atlanta, where we were visiting family over Thanksgiving break. I remember singing the songs with friends at sleepovers. I introduced the movie to my oldest daughter, who was also my date opening night.
Experiencing the story and music of “Anastasia” in a new and exciting way took time, but it was worth the wait.
Almost 20 years after the film was released, “Anastasia” the musical debuted on Broadway in spring of 2017. With music and lyrics by Lynn Ahrens and Stephen Flaherty and a book by Terrence McNally, “Anastasia” follows much of the plot of the animated film and the 1956 adaptation starring Ingrid Bergman. The national tour began in 2018, bringing audiences across the country on the journey.
Years after the execution of the Romanov family, a rumor is circulating around Russia that the Grand Duchess Anastasia might still be alive. The Dowager Empress holds onto hope about her granddaughter, offering a handsome reward for their reunion in Paris. A pair of conmen see an opportunity to finally get out of Russia when they meet a young woman named Anya with very few memories of her past and a striking resemblance. Could she actually be the Duchess?
Lila Coogan as Anya is plucky and spirited, with a voice that soars on film favorites such as “Journey to the Past,” “Learn to Do It,” and “Once Upon a December.” The latter is a particularly beautiful and haunting sequence, as Anya’s cloudy memory is flooded with images of a grand ballroom and dancing royalty dressed in elegant pastels.
As Dmitry, Stephen Brower brings all of his character’s qualities to life on stage. He is scrappy, he is sarcastic, but beneath it all, he is also sweet. In our interview, Brower told me about his brother-sister relationship with Coogan offstage, which plays very well in Act I as their characters attempt to get along. Their interactions move from disdain to admiration as they learn about their common histories, and the moment Dmitry sees Anya at the Royal Ballet is just as romantic on stage as it was on film.
Dmitry’s partner in crime, Vlad, is played joyously by Edward Staudenmeyer. Vlad is equally self-deprecating and full of swagger, and provides much of the fun and comic relief throughout the show. The comedic highlight of “Anastasia” is a scene between Vlad and his former beloved Countless Lily in Act II; Lily is played by Tari Kelly, who has a very Lucille Ball/Carol Burnett quality. Their duet, “The Countess and the Common Man,” left the audience (especially my young daughter) rolling with laughter.
While “Anastasia” certainly has its light and sweet moments, this is also a very dark show. That goes without saying considering the premise, but seeing the show play out on stage instead of in an animated fantasy world made the serious moments all the more sobering.
Instead of a ghoulish Rasputin as the villain, “Anastasia” the musical introduces Gleb, a general for the Bolsheviks whose father was responsible for shooting and killing the Romanovs. Scenes with Anya and the conflicted Gleb, played by a strong Jason Michael Evans, cast a somber and serious tone to the show. Gleb, like Anya, is also haunted by his past and his legacy. He is much like a Javert in the story, someone we can understand and yet want to root against.
As the Dowager Empress, Joy Franz is elegant and fragile, riding the thin line between hope and skepticism. The opening scene with the Dowager Empress and little Anastasia (Victoria Bingham) evokes sweet memories of the special connection between grandparents and grandchildren.
Beyond the layered performances of its cast, the costumes, set, and projection design are vibrant and gorgeous. Rightfully so, Aaron Rhyne won both a Drama Desk Award and Outer Critics Circle Award for Outstanding Projection Design.
Set pieces that begin as large arching windows inside the palace with light snow falling seamlessly become the cold streets of Russia, the sterile offices of the capital, and an opulent ballet sequence in Paris. The projection screens also work to whimsical and lovely effect during the “Traveling Sequence” scene, as the characters ride a train through the Russian countryside.
As a fan of the animated film, it was exciting to learn that “Anastasia” was going to be adapted into a Broadway musical. I feel so fortunate that the musical went on tour soon after and brought its magic to the Wharton Center.
It’s difficult to remain unbiased about a show that has such ties to my childhood, but as a fan going in to it, the stage adaptation accomplished the difficult task of doing justice to the familiar and surprising me along the way.
“Anastasia” will be one to remember.
See “Anastasia” at Wharton Center now through January 20, 2019. Click here for show and ticket information.