Review: Have You Heard? ANASTASIA Brings Indy Audiences to Their Feet

The rumors are true: ANASTASIA has finally made its way to Indianapolis. You may be thinking it's just another movie turned musical, but there are new twists and turns to this rendition of the beloved animated film. There's the romance, the legend of Anastasia, the glittering costumes and crowns, but there's also battles with personal principles and a sense of national pride that leaves people emotionally and morally torn. In short, it has it all.

Celeste:

I am unafraid to confess that I faithfully watched the animated film version of ANASTASIA on VHS many times. The story and the characters captured my heart, but what really stuck was the music. I am so immensely grateful that Lynn Ahrens (lyrics) and Stephen Flaherty (music) teamed up again to create additional music for the Broadway version. The new music integrates seamlessly with the old and provides some new favorites to listen to on repeat (without having to rewind).

I can sum up my views of this production very quickly. What a talented cast, period. The ensemble as a whole was talented, and the more prominent roles were filled by exceptional performers. Of course, I always end up with some personal favorites, but it's hard to find fault with anyone who graced that stage.

My first callout has to be for the leading lady and leading man, Veronica Stern as Anya and Willem Butler as Dmitry. They had that enchanting balance of charm and heart that was also an essential ingredient in the film. Mr. Butler was equal parts cheeky, jaded, and soft-hearted, and Ms. Stern mastered a slow grow not only as a character but also in her vocal delivery. Her choices helped her character's arc move naturally from uncertainty to newfound confidence.

A pleasant surprise for me was how much I enjoyed Gleb (Ben Endquist). I did not expect to find much sympathy for a character who championed the new Russian regime, but I found myself drawn into his pathos. He had a perfect voice for his character and used its deep richness to enhance the push and pull of emotions happening internally.

There were also a couple of absolute scene stealers, Bryan Seastrom as Vlad and Madeline Raube as Countess Lily. They had everyone in the theater in stitches without saying a word. I could barely catch my breath between hearty laughing sessions, and I could hear all around me that I wasn't alone. They had the comedy down, but they were also strong vocal presences on the stage.

Call me a sucker for a capella, but I was incredibly moved by Count Ipolitov (Amin Fuson) at the beginning of "Stay, I Pray You." It set the perfect tone for a scene that was stirring and also thought-provoking. Whatever side you may take in a revolutionary conflict, there are those who will leave the country they've known as home their entire lives. It emphasized the humanity at stake during violent conflicts and reminded me that loss cannot be reduced to mere statistics.

Dylan:

What degree of political authority did the counsellor Rasputin have on the family, and did he really endure several attempts at his life? Did any of the Romanovs, ousted from power and concealed from public view, survive their Bolshevik-ordered homicide? Maybe one of the daughters? It's very, very doubtful. However, in the musical "Anastasia," we are challenged with the latter assumption - that one of the Czar's daughters did survive.

Regardless of (and sometimes because of) this history lesson, "Anastasia" follows a well-worn and traditional plot. Taken as a straight telling of the Romanov story, there's not much here that hasn't been done before. But considering the musical as an animated film, it's rather an onstage wonder.

Beginning with the costuming, it was nothing short of incredible. There's only so much you can do with the clothing of a street urchin, of course. However, the peeks into Czarist Russia, with white ceremonial dress and bejeweled clothes, were a sight to behold. Anya's makeover from street dweller to gracious Anastasia (Veronica Stern) in her ball gown was extraordinary, and done in a matter of moments. This is, at its heart, a princess story, and our princess surely looked the part.

Also, the set pieces and groundbreaking uses of the full-stage video screens did well to bolster the production value as much as any song. Alexander Dodge earned himself an Outer Critics nomination for scene design for the 2017 Broadway production, and it's obvious why. The entire set piece transitioned nicely to the Old National Centre stage, and their flexibility and the seamless executive style made it all the more like an animated dream. From the snowy roads of St. Petersburg/Leningrad to the triumphant celebrations on top of the Eiffel Tower in Paris, the audience was carried along for the journey via the video screens. Several moments illustrate this best... At the musical's start, the Romanov family danced in lavish hall. Behind them came flashes of the revolution with the obvious use of the color red. Later, in a similar dancing scene after the deaths of the family, Anya whirled around the dancefloor. As she moved, the ghosts of her family floated all around her. It's not as hokey as that might seem, but I see it was the future of scene design.

"Anastasia" is pure escapism on every level, real, and beautifully imagined. The reality of the actual fate of Anastasia is replaced by the idea that we can dream up a life for ourselves.

Don't miss your chance to hear the rumors in St. Petersburg or find the key to your heart in the streets of Paris. ANASTASIA will be gracing the stage of the Murat Theatre at Old National Centre through October 23rd.