The cast as a whole comes together for a few remarkable moments. As Dmitry, McLellan nicely evolved from rogue to romantic as he and Anya slowly let down their guard and trust one another. As Anya, Kyla Stone crashed into her bold, blustery ballads with enormous force - and she gets plenty of them to belt out (“In My Dreams,” “Once Upon a December,” “Crossing a Bridge”). Like a classic MGM musical or Rodgers & Hammerstein blockbuster, “Anastasia” succeeds when it doesn’t try to do too much. A fellow orphan, Dmitry has cooked up a scheme with phony count Vlad (Bryan Seastrom) to transform Anya into Anastasia and collect a reward from her grandmother, the deposed Dowager Empress Maria Feodorovna living in Paris.

With echoes of Cosette’s rise out of poverty (Anya’s even got the besom broom) and Javert’s blind quest for justice, Anya’s effort to escape Gleb (Brandon Delgado) recalls “Les Misérables.”īut “Anastasia” leans more toward Disney than Victor Hugo so the enchanting bits come when Anya strikes up an unlikely relationship with Dmitry (Sam McLellan). On a journey from Leningrad to Paris in 1927, she is hunted by Gleb, who is tasked with crushing the myth that Anastasia survived the Bolsheviks’ assassination of the tsar and his family. 28 at Citizens Bank Opera House, follows Anya (Kyla Stone), an orphan with amnesia, as she looks to uncover if she really is the Grand Duchess Anastasia Nikolaevna, heir to the throne of Russia. When it relaxes into a love story, the eternal food of classic Broadway, it can be quite enchanting. And when “Anastasia” chews on the realities of the Russian revolution - a horrific end to a horrific aristocracy that led to a horrific dictatorship - it can cough and sputter.

The final time, it is sardonic.īecause a revolution is an enormously complex thing. Bolshevik general Gleb Vaganov sings this phrase both early and late in the musical “Anastasia.” The first time, the sentiment is earnest.

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