For decades following the brutal 1918 massacre of most of Russia's imperial family, rumours swirled that Anastasia Romanov, the youngest Grand Duchess, had survived. The myth captivated people around the world, eventually inspiring Terrence McNally's beloved 1997 animated film, Anastasia. The film was later re-adapted for the stage, winning the hearts of global audiences and receiving two Tony Awards. Now, after a significant delay due to the pandemic, the lavish musical, Anastasia, has finally arrived at Edmonton's Northern Alberta Jubilee Auditorium.
In this sumptuous production, a young street sweeper named Anya struggles to make ends meet in 1927 Leningrad (St. Petersburg). Inadvertently, she becomes entangled in a scheme concocted by two charming con artists, Dmitry and Vlad. The men intend to present her to the Paris-dwelling Dowager Empress as the long-lost Anastasia in hope of a financial reward. It is only after Dmitry and Vlad school Anya in Russian history, dance, and elocution that the conmen realize their amnesiac pupil might in fact truly be the long-lost princess.
At the heart of this visually stunning production is triple-threat performer, Veronica Stern, as Anya. Stern beautifully captures Anya's spitfire personality and vulnerability. Her soaring rendition of iconic showtune, Journey to the Past, is truly music to the ears, as is her haunting performance of the ethereal ballad, Once Upon a December. She shares palpable chemistry with Willem Butler's Dmitry, who charms both the heroine and the audience with his own emotive vocals and playful, quick wit.
Stepping into two of the larger-than-life supporting roles on opening night were swings, Dominic Pagliaro and Rebecca Hartman. As old flames, Vlad and Countess Lily, Pagliaro and Hartman deliver standout performances, often leaving the audience in stitches. The actors are a delight to watch as their characters banter, flirt, and dance in a moonlit garden. When Vlad and Lily finally cross paths in Act II, the musical's plot diverts from Anya's plight only to abruptly return to her several scenes later. Some of the show's most pivotal scenes are sandwiched between less important ones, which go on for a little too long before hastily refocusing back on Anya.
Despite its meandering plot, the production still stuns with its exquisite, Tony-winning costumes and atmospheric lighting. The intricate digital backdrops are truly cinematic, whisking audiences from the Romanovs' glittering ballroom to the blushing cherry blossom trees of Paris to the luxurious apartments of the elderly Dowager Empress (Gerri Weagraff). Much of the elaborate choreography pays homage to the Golden Age of movie musicals and the age-old trope of cat-and-mouse plays out against a sombre white backdrop evoking the austere Leningrad headquarters of the Bolsheviks. Christian McQueen rounds out the principal cast as Gleb, the son of the Romanovs' assassin who is determined to finish his father's deadly task. McQueen's rich vocals and commanding stage presence are also among the production's many high notes.
Though the musical has its flaws, long-time fans and newcomers will still find much to enjoy in this nearly two-and-a-half-hour-long spectacle. Anastasia's journey in Edmonton continues until February 26.
Photo by Evan Zimmerman
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