Review: Got Kids? Get 'Em to ANASTASIA!

Years ago, my instinct was to automatically reject a musical inspired by a movie. It just didn't feel kosher to me; I perceived that mounting a production based on a blockbuster hit was an easy way out, cheap, and lacking in creativity and originality. Surely there is a book more deserving of the musical theatre treatment, right? Boy, was I wrong. I have learned that my rejection-reflex was (occasionally) unfounded and misguided. Case in point: LION KING, LITTLE SHOP OF HORRORS and A LITTLE NIGHT MUSIC, among many others, that don't start even with the letter 'l.'

Based on the 1997 animated feature starring Meg Ryan and John Cusack, along with noted Broadway actors Kelsey Grammer, Hank Azaria, and Bernadette Peters, ANASTASIA (the musical) delivers a similarly engaging and generally delightful romp down fantasy lane.

Loosely based on historical events, we witness the full splendor of the Russian Romanov royal reign, shortly followed by most of the family's untimely death, and subsequent fall of the Romanov Empire. Years later, deep into the Bolshevik revolution, we meet street-cleaner, amnesia-suffering spitfire Anya, searching for her identity and answers about her past. Her every action - including walking across half of Russia on foot - is governed by her desire to reach France, where she believes that "someone is waiting for her." Along the way, she encounters adorable conman Dmitry, and his ex-aristocratic pal Vlad. The affable pair want to escape poverty, "sleep in a hotel," and receive a substantial reward for "finding" the rumored lone survivor of the massacre, Romanoff princess Anastasia. Casting calls don't unearth a decent fit for the role, until Anya walks into the room. The men proceed to train her, PYGMALION style, how to impersonate Anastasia. As training ensues, the men discover that their actress Anya seems to fit the role of Anastasia far better than they could have ever imagined.

All of the actors were deeply committed and earnest in their roles. Lila Coogan as Anya, and Stephen Brower were particular standouts, in terms of playing really big to connect with young audiences. What I may categorize as over-emoting, seemed to be a fantastic and effective way to connect with younger viewers. ANASTASIA is a show that plays to its intended audience, and in that way, I found it deeply successful. As an adult viewer, however, I was startled by how long it took to draw me into the action, how long it took for me to care about the characters. It wasn't until about five or six songs and scenes in before ANASTASIA fully captivated my attention, due to a complicated (arguably necessary) book and backstory by Terrence McNally, and muddled direction by Darko Tresnjak. Stephen Flaherty's music and Lynn Ahrens' lyrics were thoughtful and appropriate, but also slow to compel interest. It rarely takes me more than a song or two to feel invested in characters.

However, I was immediately enthralled by Alexander Dodge's set design. Dodge's clever use of digital screens to enhance rotating and highly detailed physical set pieces created a stage that was simply beautiful to behold. An elegantly choreographed scene on a train by Peggy Hickey, and the subsequent blooming floral set was particularly striking and memorable. I was also instantly enraptured by Linda Cho's costumes. The opening ballroom scene featuring the Romanoff royals in full regalia made me think of Liberace's painstakingly detailed (and often sparkly) wearable works of art. Even a ways back, audiences could not miss the staggering beadwork, and appreciate the often overlooked, truly transformational role of costuming in a production. The set, choreography and the costumes were complimented by strategic, mood-setting lighting by Donald Holder. This powerful combination of visuals engaged and entertained me far before I could feign interest in the plight of the characters.

You know how you can watch kid movies and catch off-handed jokes that are clearly intended for the adults in the room, but are totally missed by the film's younger audience? That was not the case with ANASTASIA. Every line and every choice, from the stunning snow-globe sets to the intense glossing over of the murder of a royal family, was presented with kids in mind. ANASTASIA is, without question, the least gritty and most kid-friendly musical I've seen to date. It was saccharine, sweet, and pitch perfect for parents who want to spark an interest in history, but are more motivated to introduce their offspring to the magic of musical theatre.

ANASTASIA is set in Russia and France. It's all about the Russian revolution, and its Russian residents. And yet, aside from a dance routine lightly influenced by stereotypical Russian choreography, and a sprinkle of traditional garb (integrated into the grandest of ball gowns), if the players and set didn't keep telling us we were in Russia, we wouldn't have known. All of the actors spoke without a trace of any Russian accent, but with what I can only describe as a slightly stilted 'Aristocratic' pronouncement-laden style.

I imagine that the choice to avoid even a hint of an accent was intended to increase the show's accessibility to very young American audiences. However, if we're going to ignore the lack of Russian markers in this period piece all together, then I would have expected to have seen a diverse cast on stage. Period pieces don't need to be 100% 'period' in order to be successful. But every piece of modern theatre presented to Houston audiences must be representative of our diverse makeup.

ANASTASIA asks audiences if they believe in fairytales. And as someone who woke up at 4am to watch an American woman of color become a Duchess, I absolutely do. This musical heats up slowly, capturing your imagination and treating you to a frothy vanilla milkshake along the way. Adults present likely forgot about the reality of Russia currently blowing up our timelines and ever-present newsfeeds. Kids were simply enchanted. And for just an evening, that was kinda nice.

Mischer Neurosciences Broadway at the Hobby Center presents ANASTASIA, running now through March 10. For additional information and to purchase tickets, please visit thehobbycenter.org.

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