theatre

According to Anastasia’s writer Terrence McNally, a fairy tale is a story that even if it isn’t demonstrably true, tells us something very truthful about who we are. So even if modern DNA testing has concluded any claim about a runaway Romanov, the rumour, legend and mystery of Anastasia rightly endure and find luminous life in a Broadway show, now performing at QPAC’s Lyric Theatre in Brisbane. Set largely within economically shattered early 1900s Russia, Anastasia avoids excessive sentimentality, canvassing a society struggling to survive, and haunted with loss. Street sweeper Anya is groomed by conmen Dmitry and Vlad to pose as Grand Duchess Anastasia Nikolaevna of Russia, rumoured to have escaped and survived her Imperial family’s execution, so they can pocket a reward. However, as the story develops, the grift turns to gratitude, and the fiction may not be so far-flung.

Every facet of Anastasia is impressively crafted, creating a musical that is spirited and spellbinding, yet sombre. Of the performers, Georgina Hopson is an admirable Anya, exuding the guts and grace to embody both the peasant and the princess with authentic likeability, not to mention pitch-perfect vocals, delivered with power and tender restraint. Robert Tripolino is eye catching as the resourceful rogue, Dmitry, a conman with a conscience. The magnetism between Anya and Dmitry is evident earlier than the characters realise it, and their burgeoning romance provides them with satisfying realignment and redemption, respectively. Rodney Dobson brings lived-in levity to the character Vlad, wily associate of Dmitry, and ex-member of the Imperial Court, sharing good connection and timing, particularly in his scenes with Tripolino, and Rhonda Burchmore – who is a giddy, glamourous and genial Countess Lily. Joshua Robson stands out as Gleb, capturing the complexity and ambivalence of the character, with velvet, vibrato-rich vocals, while as the Dowager Empress, Nancy Hayes commands with gravitas and regal decorum. The entire ensemble is highly commendable, vivacious and versatile.

Anastasia’s projection and videography are remarkable, adding depth and cinematic spectacle to the stage, immersing us in the adventure even more thoroughly. Dance is another special feature, with effervescent group numbers and stirring contrast between Russian waltzes, beautiful but bygone, and the up-tempo jazz stylings of 1920’s Paris. There is some phenomenal ballet added in for good measure, which provides a dazzling link between the old and new. The stylistic changes in costume, dance, and music achieve a marked tonal shift from the repression of revolution era Russia to the joie de vivre of Paris – and the possibilities of a new dawn. The costumes are stunning, the women’s regal dresses in particular draw gasps of appreciation, and the music is sumptuous and memorable, with undertones of melancholy befitting the fallen who at once grace and haunt the stage.

Anastasia shares many elements with the animated 1997 film, including five of the songs, but it achieves something new and more grown up, with each aspect combining beautifully. Director Darko Tresnjak and the entire creative team truly sweep us away in the journey. Overall, the legend of Anastasia endures, and this production is an elegant and enchanting enigma, telling many truths, including about how serendipity leads us where we are meant to be. Highly recommended.

To book tickets to Anastasia The Musical, please visit https://anastasiathemusical.com.au/tickets/brisbane/.

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