There’s something a little off from the very moment 'Anastasia' begins, at least when viewing the story through a contemporary lens.
Sure, there is beautiful grandeur to behold, with costumes and jewels that dazzle, sets that cleverly transport viewers on a fantastical journey and phenomenal talent on display, but the lazy Disney-fication of history is getting exhausting. Based on the 1997 film (which wasn’t actually a Disney film, but you get the gist), this production tells the very fictionalised story of a young street sweeper in Russia, Anya (Georgina Hopson), who may well be the long lost, presumed dead, Anastasia Romanov. Anya, who also conveniently has amnesia, meets two friendly but scheming conmen, Dimitri (Robert Tripolino) and Vlad (Rodney Dobson), who convince her to play the part of Anastasia to secure their ticket out of Russia to Paris.
The story has pace, that’s for sure, moving swiftly through the narrative and rolling adventure it plots out. While the tale is painfully saccharine in its attempt to tell a reconstructed version of history, it is at least entertaining. The story is of course a little more based in reality than the animated film was, the character of Rasputin is replaced with Gleb (Joshua Robson), in an attempt to provide a more nuanced look at the true history and complicated nature of the Russian Revolution. However, the character of Gleb seems to lack clear direction and motive, despite being well played by Robson.
Alternatively, for those viewers who are willing to bite into a mouthful of fiction, 'Anastasia' offers a fun, feverish romantic fantasy that offers every little girl the chance to believe in long-lost princesses and the possibility that even a conman can be a prince deep down inside.
Image © Jeff Busby
The story itself casts a strong shadow over an otherwise lovely production. Catchy and enchanting songs, familiar to fans of the 1997 film weave their way throughout, delivered with incredible vocal talent from a truly impressive cast. Hopson in the role of Anya is a real stand-out, captivating the crowd with a gorgeous voice the moment she begins to sing, and scoring a rousing applause with every song she delivers. Another talent worth mentioning is stage legend Rhonda Burchmore whose presence in the role of Countess Lily brings bountiful joy to the second act of the show. Providing a sense of levity much needed for buying into the fantasy of this tale, Burchmore’s delivery of the character is distinctive to her hammy style.
Clever stage design is also worth a note, with a fun scene featuring train travel from Russia to Paris that kept the pace moving and transfixed the crowd with added movement in a moment that might have otherwise been somewhat dull.
For those who want to grasp on to a princess fantasy, this show will captivate and enchant – but if you struggle to switch your brain into that mode, it simply may not be the show for you.
