Anastasia
John Frost for Crossroads Live and Opera Australia
Sydney Lyric Theathre
Friday 10th April 2027
The 1997 20th Century Fox animated film Anastasia arguably owed much of its success to its music, with a score that stood comfortably alongside the Disney animated giants of its era. That legacy remains keenly felt in its stage adaptation, which commenced its run at the Sydney Lyric Theatre last week. Right from its opening phrases, Stephen Flaherty and Lynn Ahrens’ score envelopes you with lush orchestrations, rich choral textures and stirring melodies. Charting a journey across time and place, the music is emotionally expansive, from the yearning nostalgia of Once Upon a December to the jaunty exuberance of Paris Holds the Key (To Your Heart).
And then there is Journey to the Past. A top tier ‘I want’ song, its soaring melodic line is a vibrant expression of longing, courage and hope. As Anya, Georgina Hobson’s rendition is spectacular, delivered with nuance, warmth, and a final note that will swell your heart. Across the performance, Hobson brings a natural grace and emotional sincerity that grounds the role and ensures that she shines on the stage.
The adaptation from film to stage is, overall, a very successful one. It is not a direct translation, most notably in the culling of the original’s magically resurrected Rasputin and his albino bat companion, Bartok. While these character’s numbers in the film are undeniably great, their axing enables the stage musical to occupy a more realism-based space. That being said, anyone with a desire for historical accuracy should check it at the door and accept the production as the romanticised fairytale it sets out to be.
The narrative is expanded without becoming bloated, and the additions yield some of the production’s strongest elements. One new song, Stay, I Pray You, delivers a standout moment of poignance. Led with quiet dignity by Elliot Baker as Count Ipolitov, this sombre prayer of farewell, sung as a band of exiles prepares to leave their homeland, echoes with the sorrow of displacement that resonates beyond its specific historical setting.
Another significant addition in the stage adaptation is the antagonist character of Gleb, a Bolshevik officer tasked with quashing any rumours of the Romanovs’ survival. In the role, Joshua’s Robson’s lower range is particularly engaging, and he expertly rounds out Gleb’s dogged ideological devotion with enough fragility and doubt to keep from tipping into all-out villainy.
The show also offers more meaningful roles for supporting characters in the film, with deeper insight offered into Dowager Empress’ grief through songs like Close the Door – brought to life by theatre icon, and royal grandma to the nation, Nancye Hayes. Her lady-in-waiting, Countess Lily, becomes, as lyricist Lynn Ahrens describes, “a slice of lemon” and in Rhonda Burchmore’s hands, she brings a refreshing energy to Act 2. Her rousing pub-number, albeit a far more glamourous 1920s version of a drinking establishment – Land of Yesterday – is a delight. Although the choreography features elements of Russian character dance which are not completely successful in execution, it certainly captures a raucous sense of fun and Burchmore is a commanding and playful anchor of piece. She finds a well-matched sparring partner in Rodney Dobson’s Vlad, and the pair squeeze all the comedic juice out of the former lovers uniting and experiencing their spark anew.
That pull of love finds a more lyrical expression in Quartet at the Ballet. Framed as a refined set‑piece, the number weaves overlapping vocal lines from Anya, Dmitry, the Dowager Empress and Gleb into a moment of emotional convergence. Flaherty’s score is deftly interlaced with motifs from Swan Lake, allowing Tchaikovsky’s balletic language to heighten the tension as gathering forces see the characters being inexorably drawn toward one another.
The classical ballet within the Swan Lake sequence is charming, if not technically perfect, which is understandable given that this is not a classical ballet company. Special mention, however, must go to Willa Valaris as Young Anastasia, whose port de bras and quality of movement are striking and very classical, clear enough to register even for those less familiar with the form.
The production is not without its flaws – the dialogue is often wooden, and certain vocal choices lean toward a contemporary pop idiom that feels stylistically mismatched. Even so, the balance of affectionate homage and purposeful adaptation ensures that Anastasia holds its ground theatrically, buoyed by sumptuous costumes, strong performances and a score that will sweep you away.
-Heather Campbell