BLUFFDALE — Healing is at the heart of Bluffdale Arts Advisory Board’s Anastasia by Terrance McNally with book and Lyrics from Stephen Flaherty and Lynn Ahrens. In her director’s note, Kelsha Peterson writes, “We all carry something extraordinary within us, something that connects us not only to one another, but to something bigger than ourselves—a love and purpose that binds us together in ways we don’t always see.” This sentiment is felt from the opening moments of the show.
Anastasia follows the story of Anya, an amnesiac street-sweeper desperate to go to Paris. She meets two con men, Dmitry and Vlad, who convince her to masquerade as the lost princess Anastasia–who is rumored to have survived the Bolshevik revolution. As Anya, Dmitry, and Vlad travel to Paris, Anya starts to wonder if she truly is the lost princess, finding love along the way. The musical has one major difference from the movie adaptation– the Bolshevik general Gleb, who replaces the magical Rasputin as the villain of the story. Gleb’s addition grounds the production and creates a love triangle that was previously missing from the movie.
The large ensemble fills the stage and even spills into the audience, but I wished its entirety was used more frequently. While some ensemble numbers featured smaller groups, utilizing full ensemble moments like in “Prologue” and “A Rumor in St. Petersburg” would have added even more energy to the show.
“The Last Dance of the Romanovs” is a powerful number with dazzling ballroom dance, rich costumes, and hauntingly beautiful lighting. As the Bolsheviks invade the palace, the stage darkens, inciting terror with flashes of red light and a blackout as the guns fire.
Chloe Coleman shines as Anya, capturing the audience with her vibrant stage presence and strong chemistry with her co-stars. Her powerful and clear vocals, especially in “In My Dreams,” gave me goosebumps.
Vocally, the entire cast is excellent. Group numbers are full of power, and solo performances are enchanting. The care put into the music, directed by Eric Peterson, and choreography from Malinda Severn is evident. Standout numbers for both elements include “Learn to Do It,” “Land of Yesterday,” “Paris Holds the Key,” and “The Neva Flows.”
While the acting is generally strong, I did notice moments where background actors or supporting characters briefly dropped out of character, breaking the immersion. Though these were fleeting, they were noticeable. Nathan Curtis’ Gleb has a beautiful voice and followed blocking well, but needed to completely embody his character as his acting choices lacked boldness and consistency, taking away from the depth of the character. The cast needed the first few scenes of Act 1 to settle into their characters, and the physicality of the Dowager Empress, (Charity Checketts) could have been more consistent. However, these minor lapses were easily overshadowed by the clever production design, motivated performances, and unique blocking.
Nathaniel Noyes as Vlad and Mindy Eckroth as Lily are larger-than-life, stealing scenes with their energy and palpable chemistry. Noyes, in particular, brought an age-appropriate charm to Vlad despite not being as old as the character suggests. Meanwhile, Nathaniel Nielsen’s Dmitry took a more subtle approach, with a calmness that took some getting used to but ultimately balanced well with the rest of the trio.
Once Anya, Vlad, and Dmitry unite, the dynamic between the characters really takes off. Nielsen’s smooth, emotional vocals shine in “My Petersburg,” and his chemistry with Coleman’s Anya deepens over the course of the show. A standout scene is the intimate moment between “Nightmare” and “In a Crowd of Thousands,” where Dmitry’s concern and Anya’s vulnerability are powerfully conveyed through subtle acting and the design elements.
There were minor technical hiccups, including sound imbalances and several visible crew members during scene transitions, but these didn’t detract from the overall experience. Oftentimes the actor’s vocals were too powerful for their mics, which is a good problem to have.
Eric Peterson’s lighting design was subtle but impactful, especially during the Romanov execution scene. The use of color and spotlights throughout the show kept the mood aligned with the story’s emotional beats, particularly in “The Last Dance of the Romanovs.”
The show’s set design was impressive, especially with its rotating train, a massive bridge, and a lit Eiffel Tower. These pieces were not only visually striking but were also seamlessly incorporated into the action. The stage felt sparse when including only the smaller elements such as flats and furniture; this could have been remedied by filling the background with ensemble. The company utilized Hidden Valley Middle School’s balconies for the ballet and other larger sequences well. “We’ll Go From There” and “Journey to the Past” were highlights in terms of set execution, particularly with the train’s clever movements. The ensemble’s bouncing in their seats and synchronized movements perfectly tied the scene together. Kelly Checkett’s design work deserves special praise for handling such intricate elements smoothly.
What made this production truly memorable, however, was Peterson’s decision to include Young Anastasia (Kayci Peterson) and Young Dmitry (Oliver Eckroth). The addition of these characters, especially Young Dmitry, who is not in the Broadway production, enriched scenes like “My Petersburg” and “In a Crowd of Thousands.” The Tsar Jared Collings) and Tsarina (Mitcee Collings) frequently guided Anya from beyond the grave in moments of crisis, and were occasionally accompanied by the Romanov children.
The actors for these non-speaking characters did an excellent job of displaying their grief and love for living relatives. Gleb’s father (Greg Dibble) was stoic, mirroring Gleb throughout the production. The Romanov children (Leah Allred, Erin Jones, Lindsey Lau, Ruby Noyes) were utilized in the blocking as echoes of the past rather than just in flashback sequences.
The decision to have Anya, Dmitry, and Gleb interact with their pasts added a haunting, emotional depth to the production. It amplified Peterson’s theme of belonging and healing as we watched Anya make peace with her past. Peterson’s vision for Anastasia weaves the familiar story into something extraordinary, reminding us all of the “love and purpose that binds us together.” The Bluffdale Arts Advisory Board should be proud of this enchanting and heartfelt production—one that stayed with me long after the curtain fell.
These reviews are made possible by a grant from the Salt Lake County Zoo, Arts, and Parks program.
