'Anastasia' review: Lavish costumes and heartfelt performances bring historic tale to life

Courtesy of Croswell Opera House/Ashlee Sayles

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Resilience and identity are at the core of “Anastasia,” the new Broadway musical that made its debut in 2017 and is now transporting audiences at The Croswell to the era of the Russian Revolution, circa 1927, a time of upheaval and tragedy. Directed by Stephen Kiersey, with music direction by Gabriel Brent Hagedorn and conducted by Raymond Novak, The Croswell has poured its full technical prowess into an energetic production that had audiences on their feet by the final curtain, begging for more.

Of course, Anastasia was a real person, murdered alongside her family by Bolshevik revolutionaries in Yekaterinburg in 1917, but she has lingered in the cultural imagination for decades. There have been countless plays, a film starring Ingrid Bergman, and, perhaps most famously, the 1997 animated movie that inspired this musical (sorry to all the Rasputin and Bartok fans, neither made the final cut). With a book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens, “Anastasia” is a fairy-tale rendering of a deeply tragic story. At its heart, though, it’s a tale of redemption, hope, and identity during a time in history when such things were hard to come by. The Croswell’s production, under Kiersey’s direction, captures that essence beautifully, even as the show’s book occasionally strains under the weight of its sprawling, multi-generational arc.

In this version, a decade has passed since the fall of the Romanovs, and we meet young Anya (Aubrie Lauren, an absolute knockout) who, suffering from amnesia, falls in with two con men. Their goal is to convince the Dowager Empress (a warm, commanding Mary Rumman), now living in exile in Paris, that Anya is her long-lost granddaughter, and to collect the generous reward. 

The con men are Dmitry (Maxwell Lam, always a welcome presence on The Croswell stage, with a stellar voice to match), a street-smart young man who finds himself falling for Anya’s stubborn spirit, and Vlad Popov (Jeffrey King, clearly having a blast), a former aristocrat on a mission to reunite with an old flame.

That flame, Countess Lily, is played by Love Ruddell in a near scene-stealing performance that injects the second act with enough comedic energy and charisma to push the show into high gear. Complicating matters further is Gleb (Brian Jones, solid in a slightly underwritten role), a principled Russian officer who may be the one forced to decide Anya’s fate.

It may not be a tale as old as time, but the rags-to-riches spirit of “Anastasia” remains universally relatable. With Lauren leading the way, it’s impossible not to root for Anya’s journey. She has a stunning voice, especially showcased in her Act One ballad “In My Dreams,” a haunting, heartfelt solo that captures the character’s longing and confusion as she tries to reclaim her past. Lauren and Lam have remarkable chemistry, grounding a budding romance that becomes the emotional anchor of a musical whose score, while competent, isn’t particularly memorable.

Fortunately, Sarah Nowak’s dynamic choreography gives the show plenty of spark. Large ensemble numbers like “A Rumor in St. Petersburg” explode with life, and a late second-act ballet sequence is staged with elegance and precision. None of this would resonate as fully without the jaw-dropping costume design by Sabriyah W. Davis. Davis, a Croswell veteran, has truly outdone herself. From royal gowns to humble streetwear, the attention to detail and craftsmanship is on full display. Her previous work on shows like “Into the Woods” and “The Bodyguard” was already impressive, but this may be her crowning achievement.

Ruddell is also a major standout, whose portrayal of Countess Lily is a comedic triumph. Alongside King, their duet “The Countess and the Common Man” is the comedic high point of the evening. Frankly, I’d watch an entire spin-off musical just about those two characters with these actors playing them. 

The show ran smoothly on opening night, though there were a few technical hiccups, including some sound issues during a key number. One creative choice that didn’t quite land was the use of projections, particularly during a travel sequence aboard a train. Though well-designed, the projections occasionally distracted more than they enhanced. A more minimalistic approach might have served the story better.

Still, these are small complaints in a production that radiates heart and professionalism. The opening night audience was already rising to their feet before the final bow, and as the curtain fell, it was a reminder of just how much talent resides in this community. From the designers to the cast to the crew behind the curtain, The Croswell proves once again why it’s a local theatrical powerhouse. “Anastasia” is a shining example of the magic that happens when a company fires on all cylinders. Bravo.

The Croswell’s production of ANASTASIA continues through May 18th. Tickets can be purchased here.