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Regional Reviews: Phoenix Anastasia Also see Gil's reviews of Mrs. Doubtfire and 'Night Mother
The stage musical draws inspiration from the animated film, the 1956 live-action movie, and the enduring legend of Grand Duchess Anastasia Nikolaevna of Russia–questioning whether she was truly executed with her family or miraculously survived. We meet Anya, a young woman suffering from amnesia, unaware of her true identity. She becomes the focus of a scheme devised by two con men: Dmitry, a charming young man who had a brief encounter with the real Anastasia as a child; and Vlad, a cunning yet endearing character. Recognizing Anya's striking resemblance to the lost duchess, they aim to train her in the details of Anastasia's life, hoping to claim the reward offered by the Dowager Empress, Anastasia's grandmother, who still clings to a sliver of hope that her granddaughter is alive. Complicating their plan is General Gleb Vaganov, whose father was directly involved in the execution of the Romanov family. Gleb is assigned to track Anya and eliminate her if she turns out to be the real Anastasia, creating a tense undercurrent of danger and uncertainty throughout the story. As the plot unfolds, Anya's journey of self-discovery intertwines with the supporting characters' personal motives, which adds a nice layer of mystery to the story. The book, music and lyrics for the stage adaptation were created by the same talented trio behind Ragtime, and while it doesn't quite reach the heights of that Tony-winning show, it still offers plenty of catchy tunes, compelling characters, and a fast-paced, hopeful plot. Terrence McNally's book sticks to a more grounded, realistic approach, wisely removing the mystical elements of the animated film, including its cartoonish villain Rasputin. However, some plot coincidences feel slightly contrived. Lynn Ahrens (lyrics) and Stephen Flaherty (music) bring back several songs from their animated film compositions and add a dozen new ones for the stage, including ballads that deepen the characters, humorous duets, and love songs. Although none of the new songs truly reach the level of the film's Oscar-nominated "Journey to the Past," they are all well-crafted and contribute to character development and advancing the plot. However, there are a few inconsistencies and abrupt shifts in the tone of the stage version, particularly in the comedic moments of the secondary plot which occasionally interrupt the momentum of Anya's search for the truth. Also, the character of Gleb is basically reduced to what seems like a shoe-horned in antagonist who is tasked at singing serious songs and reprises of those songs that all basically sound the same. Still, the musical's darker tone compared to the 1997 film lends it greater realism, effectively portraying both the emotional toll of the Romanov tragedy and the political tensions of the era. Don Bluth's direction brings an immersive cinematic feel to the production, with excellent use of the many entrances and tunnels into the intimate in-the-round venue and swift set changes that keep the pace tight and the show brisk. (Stage managers Samantha Hartwell and Daniel Gottlieb are a well-oiled machine.) Bluth also leans into the emotion and drama of the characters with well-delivered and realistic portrayals from the entire cast without letting them turn into melodrama or caricature. Emma B. Wind delivers a heartfelt, nuanced portrayal of Anya, a young woman who is tough and self-reliant but also vulnerable, stubborn and confused as she struggles with the mystery of her identity and forgotten past. Jacob Shore and Matthew R. Harris shine as the charming con men Dmitry and Vlad. Though their initial goal is to use Anya to claim a reward by posing her as Anastasia, as they begin to suspect she may truly be royalty, both Shore and Harris bring a sense of sincerity and growth to their characters. Harris' strong comic timing adds plenty of humor, and Shore and Wind share a believable romantic chemistry that builds as the story progresses. Barbara McBain brings a fitting sense of regality, authority, and emotional depth to the Dowager Empress, making her a commanding presence on stage both in her dialogue and well sung songs. Rudy Bogojevich is both menacing and conflicted as Gleb, portraying a man tormented by his duty, and his rich, resonant voice adds weight to his powerful solos. Alexandra (Ixy) Utpadel shines as the witty and lively Countess Lily, the Dowager Empress' assistant, providing delightful comic relief and some impressive high notes in her solos. Her duet with Harris, "The Countess and the Common Man," is a comedic highlight of the show. The ensemble seamlessly shifts among various roles, from royal family members to Russian peasants and soldiers, showcasing their versatility, including Cami Richards who impresses with a beautiful ballet solo from Swan Lake adding a touch of elegance to the production, Derek Neumann, who has a wonderful solo in "Stay, I Pray You," and Ryann Monn, who is endearing as little Anastasia. As good as the cast is in creating realistic characters, some of the singing voices in this production are good but not great, with several moments and voices that could be stronger and clearer. Fortunately, the harmonies of the large cast create a wall of sound at times that surrounds the audience and adds to the emotion and realism of the piece. Breona Conrad's choreography is constantly engaging and danced well by the cast. Cheryl Schaar's scenic design may be on the minimalistic side, but you're still able to get a sense of the various locations in the plot, and the costumes by Teresa Knudson and the hair and makeup by Utpadel are superb period- and character-appropriate designs. Anastasia may include a few extraneous moments or songs that slightly slow the momentum of the main plot, but the Don Bluth cast vividly bring their characters to life, and coupled with strong direction, this is a crowd-pleasing production of a musical that illuminates the historical mystery surrounding the fate of Russia's Grand Duchess Anastasia. Anastasia runs through October 26, 2024, at the Don Bluth Front Row Theatre, 8989E. Vía Linda #118, Scottsdale AZ. For tickets and information, please visit www.donbluthfrontrowtheatre.com or call 480-314-0841. Director: Don Bluth Cast: |
