During Anastasia’s opening scene, we witness the Dowager Empress, played to perfection by Australian theatre royalty Nancye Hayes AM, gifting Little Anastasia Romanov (Lillian Kinter) a music box that plays Once Upon A December – this show’s haunting musical motif – before relocating to Paris.
Fast forward a decade to the Russian Imperial family’s execution by Bolshevik revolutionaries – backlit in red, featuring silhouettes and flashing strobes – which makes a reunion between the pair seem unlikely.
Then we meet Anya, a street sweeper with amnesia played by rising star Georgina Hopson, whose memories are unlocked by comedic conmen – the lovably portly Vlad (Rodney Dobson) and his dashing sidekick Dmitry (Robert Tripolino) – who hope to benefit from her family fortune.
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Hopson simply oozes likeability, which can’t be taught. During the final scenes, she looks stunning in her regal threads, but also adorably uncertain, which is fitting for her character.
In what is surely a career-defining performance, Joshua Robson – as officer Gleb Vaganov, whose father was one of the Romanov family’s original executioners – gives this baddie layers. His character is torn between following in his father’s footsteps – feeling pressured to make the old man proud – and acting in a way that’s true to his authentic self within the musical’s ever-evolving, post-Revolution setting.
Robson’s extended, sustained notes intensify so effortlessly! During the crucial scene where Anastasia’s fate lies in Gleb’s hands, we’re on the edge of our seats. Riotous applause greets Robson during curtain call, which suggests unanimous approval.
Thanks to Elliot Baker (Count Ipolitov), Stay, I Pray You is a standout number. Ipolitov instructs the coachmen to hold their horses so he can deliver this poignant farewell and declaration of lasting love for his beloved homeland through song. Baker’s powerful performance reminds us there’s every chance these characters will never be able to return to Russia after fleeing the revolution.
Alexander Dodge’s set, which utilises three turntables on the stage floor, wonderfully complements Aaron Rhyne’s projections throughout. The rotating Paris-bound train scene is a particular design highlight.
Showbiz legend Rhonda Burchmore (Countess Lily) dominates Act II, which takes place in Paris during the roaring twenties. Anastasia the musical’s award-winning choreographer, the late Peggy Charleston, really leans into Charleston dance steps here. Burchmore’s duet with Dobson (The Countess And The Common Man) is a showstopper.
We’re tipping the dancers cast in the ballet recreation scene, during which complex classical ballet repertoire (including segments of Swan Lake’s Danse des petits cygnes quartet) is executed, are chuffed with this opportunity to show off their technique.
This charming modern fairytale doesn’t aim to be factual. By suspending disbelief and experiencing Anastasia with an open heart and mind, audience members will leave the theatre feeling hopeful that love can conquer all.
Anastasia plays at Regent Theatre until 20 Feb.
