Lady in the Dark Photos - West End

The first clue that ANASTASIA was going to be different than what I expected was a note on the title page reading, “Inspired by the Twentieth Century Fox Motion Pictures.” Plural? A savvy journalist, I quickly asked Siri to bring up the imdb page for “Anastasia”. Turns out Fox made ANASTASIA twice, the 1997 animated off-brand Disney princess movie and a 1957 film that scored Ingrid Bergman's second Oscar and marked Helen Hayes' transition to the big screen. And it turns out the musical version has more in common with LES MISERABLES and RAGTIME than BEAUTY AND THE BEAST. Gone is the hell-wizard Rasputin, his talking fruit bat sidekick, and the singing demon caterpillars. At intermission, I asked my third grade niece, Adalyn, how she was liking it. “It's awesome…it's real people, like no Beast or anything. No animals.” We decide that Disney staged musicals are great but more it's more impressive when you can achieve the magic without a story that departs from reality. ANASTASIA is historical fiction hypothetical. It poses a “what if…?” that a daughter of the last czar of Russia (The Grand Duchess Anastasia Nikolaevna) escaped when the czar's family was executed in 1918. Rumors persisted for decades that Anastasia did, in fact, escape. In 2007, DNA testing confirmed the remains of all four Grand Duchesses were in the Imperial grave. In this version, Terrence McNalley's book follows Anastasia's rediscovery of her identity after surviving the attack on her family and sustaining some plot enabling amnesia. Renamed “Anya” she grows up and makes a life in post-Revolution Russia. Anastasia's grandmother, the Dowager Empress (in a staggeringly moving performance by Joy Franz) has fled to France and offered a cash reward for anyone escorting the rumored alive Anastasia to Paris. The wily duo Vlad (Edward Staudenmayer) and Dmitry (Jake Levy) pull a My Fair Lady style makeover on Anya to collect the Dowager's prize. They are pursued by Gleb (Jason Michael Evans). A Soviet officer drawn to Anya romantically but tasked with finding and eliminating the last Romanov. Anya's memory becomes somewhat coaxed back, but the Dowager has stopped seeing Anastasia claimants after too much heart-break from countless frauds. It sounds dark, but with high-tech digital scenery and inspired performances across the cast it is delightful. Stephen Flaherty (Music) and Lynn Ahrens (Lyrics), responsible for bringing us RAGTIME, ONCE ON THIS ISLAND, LUCKY STIFF, as well as the Oscar nominated songs carried over from the animated film. ANASTASIA is a perfect context for this pair. “Stay, I Pray You” (my favorite song of the evening) is evocative of RAGTIME's “New Music”. The two songs literally race my heart in a strangely specific way. My real test of a National Tour at Gammage is how fast I get the music playing in my car on the way home. At ANASTASIA I was already finding, “Stay, I Pray You” walking through the parking lot. The rest of the score is similarly haunting. Lila Coogan, as Anya/Anastasia, powers through the score with nuance, clarity, and passion. Tari Kelly, as Countess Lily, and Stadenmayer (Vlad) were Adalyn's favorite performances and I have to agree. This incredibly gifted pair take the “triple threat” designation (singer, dancer, actor) and go quadruple with the addition of flawless comic timing. The choreography by Peggy Hickey is masterful. It somehow combines inventive and traditional throughout and the ten-minute slice of “Swan Lake” infused into “Quartet at the Ballet” is the highlight of the second act. It's a fun-size version that gets an under-represented art form onto the plate. This kind of trope often means the plot putting the plot on hold. But here, it is the connective tissue between Anya, Dmitry, the Dowager, and Gleb as they each bring us up to speed heading into the show's climax. Ultimately, the show's success comes from applying a higher artistic standard to the “previously-animated-film-now-theatrically-staged” genre. It cashes in on the name draw of the 1997 film then gives the viewer something much more enriched than what they think they are coming to see.

The Echo Theater Company presents a hilarious and deeply moving "comedy with dark edges" that takes an honest look at the absurdities of being home with a baby, the power of female friendship, the dilemma of going back to work and the effect class has on parenthood in America. Lindsay Allbaugh directs the West Coast premiere of Cry It Out by Molly Smith Metzler for a July 14 opening at Atwater Village Theatre.

The nationally regarded Fulton Theatre is proud to present this jovial celebration of The Irish And How They Got That Way, January 23 now extended through February 25. Join us for a fun-filled time as we explore the ways of the Irish and how they have fit into the tapestry of America over the past 150 years.

Donmar Associate Robert Hastie returns for this timely revival from one of our greatest living playwrights, following his previous productions My Night with Reg and Splendour.

Set inside the sensationalized female murderess craze that swept 1920s Chicago, CHICAGO draws its audience into a world of crime and glitz against the vivid backdrop of the jazz age. A first time production for Pittsburgh CLO, CHICAGO is sure to be 'all that jazz' and more!

Film and stage legend and two-time Tony Award winner Lauren Bacall, passed away last week (first reported by TMZ) at the age of 89. The legendary actress suffered a massive stroke and died at home (New York City's famous Dakota Building) according to a family member. BroadwayWorld remembers the legend below.

Bay Street Theater is pleased to announce that the Tony award-winning comedy TRAVESTIES, by Tom Stoppard, is now on stage through July 20. The production is directed by Gregory Boyd. Tickets can be purchased online now at www.baystreet.org or by calling the Box Office at 631-725-9500, 11 am to Showtime. For more information about Bay Street Theater log on to www.baystreet.org.

Richard Eyre has adapted and will direct Ibsen's Ghosts, running at the Almeida Theatre now through 23 November 2013, with Press Night on 3 October. Designs are by Tim Hatley with lighting by Peter Mumford and sound by John Leonard. The full cast is Lesley Manville (Helene Alving), Brian McCardie (Jacob Engstrand) Charlene McKenna (Regina Engstrand), Jack Lowden (Oswald Alving) and Will Keen (Pastor Manders). BroadwayWorld has a first look at the cast in action below!

Distinguished director Richard Eyre returns to Chichester to open Festival 2013 with THE PAJAMA GAME. The production is at the Minerva Theatre, now through 8 June. BroadwayWorld has a first look at the cast in action below!

The Way Off Broadway Dinner Theatre will transport audiences to the streets of London in the late 1800s for the musical thriller, Jekyll & Hyde. Check out the production photos below!

Following a three week run at the Chichester Festival Theatre, Trevor Nunn directs a company led by Samuel Barnett and Jamie Parker in Tom Stoppard's Rosencrantz and Guildenstern Are Dead which runs at the Theatre Royal Haymarket from 16 June - 20 August, with press night on 21 June 2011.

Following a three week run at the Chichester Festival Theatre, Trevor Nunn directs a company led by Samuel Barnett and Jamie Parker in Tom Stoppard's Rosencrantz and Guildenstern Are Dead which runs at the Theatre Royal Haymarket from 16 June - 20 August, with press night on 21 June 2011. Set design is by Simon Higlett, with costumes by Fotini Dimou, lighting by Tim Mitchell, sound by Paul Groothuis and music by Steven Edis. Rosencrantz and Guildenstern are Dead is produced by the Chichester Festival Theatre, the Theatre Royal Haymarket and Triumph Entertainment Limited.

The 2008-2009 Reprise Theatre Company season continues with 'I Love My Wife' with book and lyrics by Michael Stewart and music by Cy Coleman, December 2 to 14 at the Brentwood Theatre. Lea Thompson and Patrick Cassidy join Vicki Lewis and Jason Alexander. 'I Love My Wife' will be directed by Larry Moss with choreography by Lee Martino and music direction by Michael Skloff.