PERRY — In a time when current politics feel painfully divisive and overwhelming, I often find myself turning to history to escape the current reality while getting perspective. I take a break and fall into good literature and entertainment that intentionally blurs the line between historical fact and historical fiction. The story of Anastasia Romanov and the fall of the Russian Imperial family during the Bolshevik Revolution is a perfect fit. The Heritage Theatre’s current production of Anastasia: The Musical captures the essence of a historical fairy tale. With a handful of facts, it blends romance, adventure, and a sense of nostalgia, making it a good show for all patrons to escape the current political climate outside the theatre and come together to enjoy a good night of theatre.
The production, directed by Leslie Richards, is a good rendition of the 2017 Broadway musical, itself based on the 1997 animated film and the true historical mystery of Anastasia Romanov. With the book by Terrence McNally, music by Stephen Flaherty, and lyrics by Lynn Ahrens, Anastasia tells the story of Anya, a young woman who embarks on a journey to uncover her lost identity. She searches for answers to her past, believing she might be the long-lost Grand Duchess Anastasia Romanov. Set against the backdrop of post-revolutionary Russia and Paris in the 1920s, Anya teams up with two con men, Dmitry and Vlad, who seek to pass her off as the missing duchess to collect a reward, all while being pursued by Gleb, a Soviet officer with his own conflicted motives.
ANASTASIA closes September 7th, 2024
Anastasia is double cast, and I attended a production starring the Petersburg cast led by Morgan Richards delivering a beautiful performance as Anya. Richards’ portrayal of Anya is layered with vulnerability, strength, and a deep yearning for belonging. Richards’ voice is powerful and tender, capturing the emotional depth of songs like “Journey to the Past” and “In My Dreams.” Richards’ ability to transition seamlessly between Anya’s moments of doubt and stubborn resolve was charming. During this performance, there were a few unfortunate mic issues and it sounded like Richards’ mic might have stopped altogether. Richards’ voice was still powerful enough during solos and I continued enjoying the performance from my seat. The mic’s imbalance was more obvious during the trios with Dmitry and Vlad, but it was managed well by the performers and their supporting technicians so it did not take away much from the performance.
Playing opposite Anya is the street-smart yet soft-hearted conman Dmitry, played by Jensen Bean, who made the character charming and complex. Bean’s chemistry with Richards is sweet, creating a believable and engaging romance at the story’s core. Bean’s range and vocal performance is lovely particularly in “My Petersburg” and the duet “In a Crowd of Thousands”. The direction of “My Petersburg” was particularly fun as Bean would point one way to misdirect someone and grab something from their basket or box, showing Dmitry to be a loveable scamp as he sometimes gave his ill-gotten gains to others in need.
Dmitry’s partner-in-crime is Vlad, played by Randon Smith, who brings a nice mix of humor and heart to the production. Smith’s comedic timing is impeccable, providing much-needed levity to a show that begins with an entire family being murdered. Smith’s portrayal of Vlad shines most in his dynamics as a trio with Anya and Dmitry during “Learn to Do It” when the con men try to give Anya the “My Fair Lady” treatment teaching her how to be a believable Grand Duchess. Vlad’s most entertaining number comes during the duet with the Countess Lily (Sabrina Johansen) “The Countess and the Common Man.” I personally do not like Flaherty’s songwriting here which constantly lands the end of phrases on a dissatisfying note building anticipation for the major note to finally be heard at the end of the song. I find this annoying musically, but Smith and Johansen bring out the humor of the moments with their dancing and kisses, making it a great number for the production. Johansen’s chemistry with Smith is playful in their roles of Lily and Vlad. Johansen’s solo performance is a standout in its own right portraying Lily as a woman who is both refined and fiercely loyal.
Jeremy Gross as Gleb provides a powerful and haunting portrayal of the conflicted antagonist chasing Anya. Gross captures the inner turmoil of Gleb, a man torn between duty and his own moral compass. Gross’ rendition of “The Neva Flows” is chilling, with Gross conveying the weight of Gleb’s decisions and their impact on his soul. Gross’ performance made Gleb complex and had me invested in the wrestle with his beliefs. The music direction by Terresa Shreve showed in this number and Gross’ vocal choices were powerful. The performance of “Still” showed a powerful belt and controlled vibrato and the addition of vocal growls delivered a truly excellent performance.
While the cast’s performances are undoubtedly the heart of the production, the technical elements support and enhance moments on stage. Brianna Taylor’s costume design is immensely impressive for a community production. The large number of costumes transport the audience from the opulence of the Russian Imperial family to the starkness of post-revolutionary Russia, and finally to the vibrant streets of Paris in the 1920s. I particularly liked that Anya’s dress for the ballet was very reminiscent of the strapless navy blue gown worn during those scenes in the movie.
Dustin Smith’s lighting design had effective moments, using red gels at the beginning of the show when the family is killed, as well as good use of the spots to focus on Anya in her solo. The lighting also dimmed to a nostalgic mood when a character recalled the past and ghosts flitted across the stage to act out their memories. This was another place that had a few hiccups during the night I watched, where some kind of lamp at the sound booth flicked on a few times totally out of place, but overall the design was good for the space.
Choreography by Ginny Waldron is another highlight of the production. Waldron has crafted a movement that feels organic to the story, blending traditional Russian dance with more contemporary styles fitting the Heritage’s smaller stage. The guest choreographer, Julie Moffitt, makes the ballet scene particularly impressive. The Swan Lake dancers give a gorgeous performance in their toe shoes, making each extension look effortless and graceful in the foreground of the scene with “Quartet At the Ballet.” The choreography is technically impressive as the actors sit behind them and sing their separate moments, filling the scene with powerful emotions expressed musically by the singers and physically through the dancers, making it one of my favorite scenes.
Heritage Theatre is an excellent example of what community theater can achieve when passion, talent, and dedication come together. There are distracting flaws with the sound balancing on the mics, especially between the on-stage singers and the off-stage singers, and one moment when a mic gave feedback. But despite the small size of the theatre, Heritage doesn’t disappoint with the talent they find. The singing and storytelling are fantastic, making this the kind of show I can bring my whole family to enjoy. It reminds us that no matter where we come from or what is happening in the larger political world, we all have the power to shape our own destiny.
