Vertigo was kindly granted the opportunity to attend the media call for Anastasia: The Musical, where they premiered the beloved songs of lyricist Lynn Ahrens and composer Stephen Flaherty at the Sydney Lyric Theatre. Seeing all the empty seats amongst photographers and reporters, the limited audience was itching to capture everything the renowned stage adaptation had to offer.
As a flutist warmed up in the orchestra pit, a grand curtain projected the show’s title and iconic structures of the ‘Church of the Savior on Blood’ and Eiffel Tower, revealing the two locations that audiences would soon journey through.
John Frost, a producer for Anastasia who has also introduced the shows Hairspray, The Rocky Horror Show, Wicked, and Cabaret to Australian stages, spoke about why he was motivated to bring this story to us. Frost recalled falling in love with the show when he first watched it, and immediately thought “this has to come to Australia at some time”. Stunned by the score, lyrics, sets, costuming, direction – “everything about it just ticked every box” – Frost was determined to ignite a resurgence of traditional musicals backed with exceptional storytelling within the Sydney scene.
“We all sort of have a fantasy about this young lady Anastasia,” Frost declared. Rumours circulated for decades following the collapse of Russia's monarchy, stemming from a morbid curiosity into whether the youngest Grand Duchess was truly assassinated, or had quietly escaped death.
Director Sarah Hartmann stated: “The story of Anastasia is something that has carried so much meaning…this show and this story has grown up with its audiences.” Ahrens, who wrote the songs in the 1997 film and stage show, was also in attendance and introduced the performances. Ahrens revealed that when developing the stage production, “[she] wanted to grow the show up, not make it an animated cartoon, but something that had historical basis, and yet, still maintained the fantasy and the magic.”
Fans of the movie should know that they are not in for a faithful live adaptation. While there are six returning (and cherished) songs, sixteen additional songs were written for the stage. Solo musical numbers were written for characters who did not have such in the film, fleshing out motivations and characterisation.
Speaking of, the first act, My Petersburg, performed by Robert Tripolino and Georgina Hopson, detailed Dmitry’s resilience:
“There are some who survive
Some who don't
Some give up, some give in
Me, I won’t
Black and blue, welcome to my Petersburg”
The characters of Rasputin and Bartok were sadly omitted from the show in the decision to make it more mature, as Ahrens reasoned, these characters “could only be animated”. The central antagonist is now Gleb: “a handsome, young revolutionary… who follows his father’s example and grows up to be a strict officer in the new regime”. Hartmann explained that stepping back from Rasputin as a character and introducing Gleb was a choice made to ground the story in its historical roots.
Audiences of all ages are guaranteed to connect with someone on the stage “from Little Anastasia, all the way to the Dowager.” Hartmann and Ahrens highlighted Countess Lily (renamed from ‘Sophie’ in the film) as a character who was given much more depth and attention, especially as a middle-aged woman who was able to rekindle her love with Vlad. “In this show [Lily] is a slice of lemon, she is so delicious and refreshing…Wow are we in for a big treat in Act 2 with her,” Ahrens beamed.
Next came Rhonda Burchmore and the ensemble performing The Land of Yesterday in a sequence taking place at the ‘Neva Club’. Ahrens spoke about Lily being one of the White Russians/White émigrés, “Who escaped during the revolution taking two silver spoons and one diamond ring.” The performance exemplified traditional musical performances in grandeur and choreography, transporting the audience straight to the 1920s in a dazzling cabaret-style number.
“As long as I dare to live
(In the land of yesterday)
Let's run up the bill as if we're still, royalty at play
In Russia, land of yesterday”
Hartmann and Ahrens discussed the significance of Journey to the Past and its placement in the show, changing from Anya’s first song as she leaves her orphanage, to ending Act 1 when Anya finally arrives in Paris. As the most iconic number in the film, Ahrens commented on the audience's reaction once it was finally played live: “When the first opening little sparkly notes happen, you can feel the shivers of anticipation through the whole theatre”.
Anastasia is a story about finding yourself; an experience that everyone, but especially young people, are undergoing. Hartmann cited the lyrics: “People always say, Life is full of choices, No one ever mentions fear,” giving the audience “permission to live in the in-betweens…[and] to sit in those moments of uncertainty.”
Finally, the most anticipated song Journey to the Past was performed by Georgina Hopson. An anthem of hope, identity, and new beginnings, where those lucky enough to be in that small audience hushed at the opening notes, just like Ahrens predicted they would.
An enormous thank you to Ian Phipps Publicity for giving Vertigo the opportunity to attend the media call and opening night of Anastasia: The Musical.
Be sure to look out for our deep dive review of the whole show!
The production leaves Sydney on July 18th, so get tickets here while you still can!
-