The Broadway musical adaptation of the beloved 1997 animated film Anastasia has officially opened in Australia, premiering at Melbourne's Regent Theatre before embarking on a national tour. However, this lavish production, which transplants the fictionalised Romanov tale to the stage, struggles under the weight of its own glittering spectacle, offering a historically simplistic and emotionally hollow experience.
A Problematic Retelling of History
The musical, with music by Stephen Flaherty and lyrics by Lynn Ahrens, follows the film's plot. It centres on Anya (Georgina Hopson), a young amnesiac street sweeper in post-revolutionary St Petersburg (now Leningrad), who is convinced by two conmen, Dmitry (Robert Tripolino) and Vlad (Rodney Dobson), to impersonate the lost Grand Duchess Anastasia. Their goal is to claim a reward from the exiled Empress Dowager (Nancye Hayes) in Paris, all while being pursued by a relentless Bolshevik general, Gleb (Joshua Robson).
The show faces immediate criticism for its glib handling of profound historical tragedy. The real Anastasia Romanov was executed with her family in 1918. The musical, however, depicts the Romanovs as blameless victims, entirely sidestepping the complex socio-economic realities of Tsarist Russia. The narrative offers no critique of their vast, unearned wealth while their citizens starved, reducing a revolutionary epoch to a sparkly backdrop for a simplistic identity quest.
Sparkle Over Substance in Production
On a surface level, the production values aim for opulence. Linda Cho's costumes and Donald Holder's lighting work hard to evoke imperial Russian grandeur and 1920s Parisian glamour. Yet, this effort is undermined by cheap-looking props and overly reliant, clichéd projections by Aaron Rhone. Key set pieces, like a pivotal Fabergé egg music box, lack conviction, and the digital backdrops feel generic and depthless.
The cast delivers mixed results. Rodney Dobson and Robert Tripolino provide reliable comic relief as the scheming Vlad and Dmitry. Nancye Hayes brings a necessary dignity to the Empress Dowager, and Rhonda Burchmore nearly steals the show as the vivacious Countess Lily, injecting much-needed energy whenever she appears. Joshua Robson also manages to imbue the Bolshevik Gleb with a compelling sense of menace.
A Miscast Lead and Cultural Confusion
The central performance from Georgina Hopson proves problematic. While displaying gumption, she often lacks the innate vulnerability and charm required for the role of Anastasia, with her vocal delivery at times sounding strained. This miscasting, combined with some unflattering wigs and costumes, hampers the emotional core of the story.
Further dissonance arises from the show's awkward cultural homogenisation. Australian actors perform Russian aristocrats and revolutionaries speaking in American accents. The score, which gestures towards Russian folk and Parisian chanson, ultimately defaults to a repetitive, bland Broadway formula. The creative team, previously behind the nuanced historical musical Ragtime, fails to replicate that success here, producing a show that feels like an exercise in American cultural imperialism rather than a thoughtful exploration of its source material.
Ultimately, Anastasia is a musical that prioritises sentiment and sparkle over narrative stakes or historical intelligence. In an era of acute cost-of-living pressures, its tone-deaf celebration of inherited wealth and privilege feels particularly jarring. While it may satisfy undemanding fans of the film seeking visual spectacle, those hoping for a show with something meaningful to say will find this royal offering deeply unsatisfying.
Anastasia is at the Regent Theatre, Melbourne, until 20 February, with subsequent tours planned for Perth, Sydney, and Adelaide.
