Anastasia – The Broadway Musical
Step into a world of opulence, romance and intrigue as Anastasia, the hit Broadway musical, opens at Melbourne’s magnificent Regent Theatre. From the moment you enter this grand venue, it feels as though you’ve been transported into the very heart of the story — the perfect setting for a production overflowing with history, breathtaking spectacle and a little mystery!
Inspired by the beloved 1997 animated film and the enduring real-life legend of the Romanov family, Anastasia offers far more than a simple fairytale. Loosely based on the tragic events surrounding the murder of the Russian royal family and the mystery of Princess Anastasia’s supposed survival, this musical presents a rich, emotionally layered story. While suitable for all ages, it leans into a more sophisticated, adult retelling, blending moments of darkness with warmth, humour and sweeping romance.
The score, by acclaimed theatre collaborators Stephen Flaherty and Lynn Ahrens (Ragtime, Once on This Island, Seussical), paired with a book by the “bard of the American theatre”, the late Terrence McNally (Master Class, Kiss of the Spider Woman, Ragtime), delivers a richly satisfying feast of music and storytelling. The first act is filled with musical numbers shaped by rich Russian choral and folk influences. When the story shifts to Paris in Act Two, the show suddenly springs to life with the jazzy sounds of the 1920s, including the infectious and toe-tapping Charleston style Act Two opener “Paris Holds the Key (To Your Heart)”. Fans of the animated film will be delighted to hear familiar favourites woven in alongside plenty of stunning new songs and high-energy dance routines.
Director Darko Tresnjak, celebrated for his refined storytelling, delivers a production that is both visually spectacular and emotionally clear. The narrative flows effortlessly, drawing the audience into Anastasia’s journey even if they arrive knowing nothing of the story. Every moment feels purposeful, polished and deeply engaging.
The design of Anastasia is stunning! Set designer Alexander Dodge, video designer Aaron Rhyne, and lighting designer Donald Holder work seamlessly together, blending physical sets with dazzling LCD projections to create scenes full of depth and beauty. The large sets, inspired by Palladian architecture with their symmetry and perspective, hint at the shape of a Fabergé egg—or Anastasia’s music box. Grand palaces, lavish opera houses, shadowy nightclubs, sweeping landscapes, and iconic Russian and Parisian landmarks (like the Pont Alexandre III Bridge, the Eiffel Tower, and the Arc de Triomphe) appear effortlessly, often leaving you wondering where reality ends and digital magic begins.
One of the most thrilling moments comes during Anastasia’s journey to Paris, as the train sequence unfolds in a breathtaking rush of movement and light. It is spectacular in every sense, pulling the audience directly into the adventure and making you feel as though you are travelling alongside the characters. The scene is richly cinematic, immersive, and utterly enchanting. Completing this sensory feast is Peter Hylenski’s immaculate sound design, which ensures that every sound effect, lyric, musical phrase and orchestral swell rings out with pristine clarity. Both emotionally and visually, the final moments of the Act One closer “Journey to the Past” are absolutely electrifying — a breathtaking payoff that alone makes the price of admission feel entirely worthwhile.
Choreography, originated by the late Peggy Hickey, infuses the production with constant movement and exhilarating energy, effortlessly spanning Russian folk dance, classical ballet and vibrant Parisian styles. “The Last Dance of the Romanovs” at the opening of Act One is utterly mesmerising, immediately immersing the audience in a world of elegance and impending tragedy. Numbers such as “A Rumor in St. Petersburg”, “Paris Holds the Key (To Your Heart)” and “Land of Yesterday” are choreographic standouts, showcasing the extraordinary precision, versatility and dynamism of this superb ensemble.
The undisputed audience favourite of opening night was “Quartet at the Ballet”. Featuring a surprise excerpt from Swan Lake, this sequence was a masterclass in classical technique and storytelling. Led by the breathtaking performances of Sophia Bae (Odette), Davis Giotopoulos Moore (Siegfried) and Keian Langdon (Rothbart), the dancers delivered a moment of pure theatrical magic. The audience response was electric, with rapturous applause erupting both at the conclusion of the number and again during the curtain bows — a well-deserved celebration of an unforgettable performance.
Costume designer Linda Cho has truly outdone herself, creating some of the most spectacular costumes seen on stage in years. Every detail feels meticulously researched, from the outfits of the working-class streets of Russia to the opulent wardrobes of the aristocracy. Many of the Romanov-era designs draw inspiration from original photographs taken by Tsar Nicholas II, resulting in costumes that are rich, intricate, and utterly jaw-dropping. When the story moves to Paris, Cho’s palette shifts to lush golds and elaborate patterns inspired by Gustav Klimt’s Portrait of Adele Bloch-Bauer, creating a stunning visual contrast between the two worlds. Every costume is breathtakingly elegant — so lavish and refined they could easily belong in a royal wardrobe, fit for a Dowager Empress or Princess.
Musical direction is always in capable hands when Anthony Barnhill (The Phantom of the Opera, Midnight – The Cinderella Musical, Beetlejuice) is at the helm, and the result is nothing short of thrilling. The lavish score — including the stunning excerpt from Swan Lake — feels like it’s being played by a full orchestra, yet it’s incredibly just ten musicians. Every note, every shift in tempo or style, is executed with precision and flair, and it’s impossible not to be impressed by the way the orchestra brings such richness, energy, and emotion to the stage. Well done all!
The lead cast and ensemble/swings are phenomenal — on par with the very best you’d see on any Broadway stage. From start to finish, there isn’t a single weak moment, character, or note. Every performer is a polished triple threat, effortlessly combining singing, acting, and dancing at the highest level. It doesn’t get much better than this!
With an acclaimed career spanning both stage and screen (Titanique, The Phantom of the Opera, Singin’ in the Rain), Georgina Hopson brings a captivating freshness and heartfelt vulnerability to the role of Anya (Anastasia). Her vocals are nothing short of extraordinary — warm, crystal clear, with a clarity and power that soar effortlessly across the theatre. Hopson’s standout performances of “In My Dreams”, “Once Upon a December” and the showstopper “Journey to the Past” were delivered with precision and emotion, never faltering, leaving the audience completely spellbound. Robert Tripolino (Les Misérables, Whistle Down the Wind, Rent) is magnetic as Dmitry, the charming conman with a heart of gold. His rich, velvety baritone fills the stage, perfectly balancing wit and warmth. Every gesture and look brings Dmitry to life, and his chemistry with Anya and Vlad feels effortless and authentic.
Award winning Joshua Robson (The Phantom of the Opera, Quasimodo The Musical, A Little Night Music) delivers a riveting performance as Gleb Vaganov, a man torn between duty and an almost obsessive fascination with Anya. While you can’t help but feel for him, his position as a Bolshevik officer — and the son of one of the men behind the Romanov family’s execution — keeps the audience constantly conflicted. Robson’s portrayal is magnetic, with his rich, resonant vocals in his solo “Still” captivating the theatre entirely. Every scene he inhabits is charged with intensity, adding layers of depth, tension, and emotion that make his performance unforgettable.
Rodney Dobson (Beauty & The Beast, Moulin Rouge, Chicago) as Vlad Popov is a total scene-stealer — part drama king, part lovable goof. His comedy baritone hits all the right notes, and his timing is perfection. Vlad can be sneaky and crafty one minute, then a big-hearted softie the next, keeping you on your toes. Songs like “Learn to Do It” and “The Countess and the Common Man” are laugh-out-loud highlights, with Dobson delivering every punchline and note with irresistible charm.
Australian theatre royalty — though not, sadly, related to the Romanovs — light up Anastasia, with Rhonda Burchmore as Countess Lily Malevsky-Malevich and Nancye Hayes as the Dowager Empress Maria Feodorovna Romanov. Burchmore (Hot Shoe Shuffle, Mamma Mia!, Follies) is a master of both character and dance, with a voice perfectly suited to the lush, heady music of 1920s Paris. Her Act Two showstopper, “Land of Yesterday”, is a deeply moving number that captures nostalgia, resilience, and the spirit of a bygone era, perfectly highlighting her bubbly personality and stunning vocal talent. Her duet with Rodney Dobson, “The Countess and the Common Man”, is cheeky, hilarious, and filled with brilliant comedic timing and chemistry. Decades of stage experience shine through in every aspect of Burchmore’s performance, making her a true standout in this production.
Nancye Hayes (42nd Street, Gypsy, Sweet Charity) began her illustrious career with J.C. Williamson Theatres Ltd as a chorus member in My Fair Lady. Now, with six decades of stage experience, her portrayal of the Dowager Empress — Anastasia’s grandmother — feels perfectly made for her. Though icy, proud, and regal, there’s a warmth and vulnerability to her that makes you genuinely care for her, especially knowing the trauma she’s endured losing her family and her beloved granddaughter Anya. Her vocals in “Once Upon a December” and “Close the Door” are tender, melancholic, and sweet — just as you’d imagine a grandmother’s voice should be — showcasing the depth and refinement that only a career like hers can bring.
Elliot Baker as Count Ipolitov, along with the ensemble, delivers a truly moving performance of the haunting, Russian-inspired “Stay, I Pray”. The vocals are pure, emotional, and deeply heartfelt, creating a chillingly beautiful moment on stage. This was one of the standout highlights of the evening, leaving a lasting impression on me even after leaving the theatre! Beautiful!
Special mention to Lillian Kinter as little Anastasia/Alexei who will share the role with Bibiana Brudan, Eleanor Flynn and Alyssa Fooks.
With its soaring music, spellbinding visuals, sumptuous costumes, intrigue and mystery and timeless story of identity and hope, Anastasia is more than a musical — it’s an unforgettable theatrical event. Whether you loved the animated film or are discovering the story for the first time, this is a production that demands to be seen.
Anastasia the Broadway Musical is truly a “Journey to the Past” worth taking.
Jonathan Cox
Photos: Jeff Busby
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