Review: ANASTASIA THE MUSICAL at The Marcelle

ANASTASIA THE MUSICAL premiered on Broadway in 2017. It is based on the1997 Twentieth Century Fox animated movie “Anastasia” that tells a Disneyfied story of a lost Russian princess who travels to Paris to be reunited with her grandmother. ANASTASIA THE MUSICAL ran for just over two years on Broadway, with 808 regular performances and 34 previews. 

The animated film spawned the Oscar nominated song “Journey to the Past” and included the haunting “Once Upon a December.” Both numbers were written by the Tony winning composers Lynn Ahrens and Stephen Flaherty who went on to score the full-length Broadway musical. Arguably “Journey to the Past” and “Once Upon a December” that were lifted from the animated feature remain the best songs from a somewhat forgettable score.  

While the show’s score may not be particularly memorable, Tesseract Theatre’s current production of ANASTASIA is beyond memorable. Directed by Tesseract’s Brittanie Gunn and choreographed by Michelle Sauer, ANASTASIA is filled with fantastic performances and electrifying choreography.  

Gunn had a vision to stage the first full-scale regional production of the musical and has done so with an abundance of success. She, her actors, and design teams have built an epic production that nearly busts out of The Marcelle’s small performance space. Tesseract’s ANASTASIA exceeds expectations with its charismatic cast, soaring vocals, and high energy choreography.  

Gunn has assembled a terrifically talented cast. Every member of this glorious cast delivers with seismic energy, relatable chemistry, and monumental vocals. The company, led by music director Zach Neumann, sings the Ahrens and Flaherty score with mellifluous tone. The large chorus numbers are robust and grandiose. Sarah Wilkinson (Anya) delivers a euphonious “Journey to the Past” with ostensible optimism and a yearning “Once Upon a December.” Wilkinson and all the members of the cast deliver wonderful solo performances.  

The impressive vocals are equally matched by the actors’ accomplished portrayals. Wilkinson’s Anya is forthright with an unwavering commitment to her moral compass. She makes a lovely ingenue who is equal parts naive, demure, and plucky. Her Anya believably buys into the dream that she is the lost granddaughter of The Dowager Empress played splendidly by the marvelous Margery A. Handy. Handy’s Empress is resolute in conviction, regal and stately, with a hardened exterior that shields her broken heart. She plays bitter royalty with a convincing stiff upper lip. 

Hand and Wilkinson exhibit strong chemistry as the long-lost family members brought together by the scheming Dimitry (Aaron Fischer) and Vlad (Kent Coffel.) Fischer’s magnetism and charisma as Dimitry are packaged in strapping height and handsomeness. He gives Dimitry an alluring charm. It is easy to see why Anya and Dimitry are drawn to one another. Their infatuation and romantic feelings are perceptible.  

Coffel’s portrayal as Vlad is particularly enjoyable as is his work with Kimmie Kidd (The Countess Lilly.) The pair make a charming comedic duo and delight with “The Countess and the Common Man.”  Kidd again proves that she is the actor to cast if you need someone to sell a big song. Her dynamically resounding presence makes “Land of Yesterday” and “Press Conference” enthralling numbers. Kidd lights up the stage.  

Kidd’s real life son Donald Kidd is a menacing presence as the Bolshevik soldier Gleb, and the young Devynn Phoenix Yakel is pleasant as Little Anastasia/Alexia. She acts, sings, and dances on par with her more experienced cast mates.  

Gunn has cast a gifted group of actors as the singing, dancing, and acting ensemble including Tiélere Cheatem, Scott Degitz-Fries, Ella Drake, Danielle Feinstein, Julia Gilbert Gaglio, Lindsey Grojean, Jaelyn Hawkins, Stephanie Merritt, Jacob Schmidt, and Kelvin Urday. All of the members of this phenomenal chorus have remarkable talents and have performed in lead and supporting roles in other productions. Their significant contributions help make this production spectacular. 

The entire company executes marvelously on Michelle Sauer’s exciting choreography. Her Charleston inspired dance for “Paris Holds the Key” was joyful and rousing. Her beautifully balletic choreography for “Quartet at the Ballet” was executed flawlessly by dancers Ella Drake and Tiélere Cheatem. Gunn’s intricate blocking and Sauer’s demanding dance created fascinating movement throughout the entire production.  

Sarah Gene Dowling’s sumptuous costume designs used textured fabrics and layers to create period, class, and culture-appropriate wear for the entire cast. Dowling used hundreds of costume pieces to create the more than 70 looks. Her detail-oriented designs literally outfitted each character from head to toe. The costumes for the ruling classes were especially elegant and rich in appearance.   

Todd Schaefer’s versatile set design allowed for quick scene changes. His rolling columns and multi-purpose movable benches transitioned from palaces to railroad cars, and from beds to grand halls. His set designs incorporated lighted sconces on the walls and created a beautiful palette for Kevin Bowman’s illustrious lighting design. Phillip Evan’s sound design created perfect balance between the singers and the orchestra, and his sound effects were perfectly timed to advance the storytelling. 

Credit director Brittanie Gunn for Tesseract Theatre’s extraordinary production of ANASTASIA. Gunn’s vision and her collaboration with her actors and technical teams has created an extravagant production with outstanding performances, sensational singing, exhilarating dancing, and absorbing storytelling. 

Tesseract Theatre’s production of “Anastasia The Musical” continues Thursdays through Sundays at The Marcelle through November 24, 2024. Click the link below to purchase tickets.

PHOTO CREDIT: FF 

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