Another Disney Princess

Based upon both the 1997 animated film, as well as the 1956 live-action film, which earned Ingrid Bergman an Academy Award, playwright Terrence McNally write the book for this charming musical that, when reduced to its basics, is a story about another Disney princess. With a lush score by Stephen Flaherty and Lynn Ahrens, this musical version, which plays fast and loose with Russian history, opened on Broadway two years ago, but Chicago is finally enjoying this National Tour after five months on the road. It’s a glossy production well worth the wait.

The theatrical version dramatizes the popular legend that, at the outbreak of the Russian Revolution, when  the entire Romanov family was assassinated, the Tzar’s middle daughter, Anastasia somehow escaped the massacre. It was rumored, as depicted in this play, that the young princess developed amnesia following the trauma of the event, but was living somewhere in Russia. 

A young woman named Anya, who may or may not be the mysterious Romanov refugee, can’t remember her past and works for a pittance as a street sweeper. Enter Count Vlad Popov, a former member of the Imperial Court, and his handsome young associate, Dmitry, two opportunists who believe they’ve hit upon a scheme to make some easy money. They decide to audition, cast and groom a girl to impersonate Anastasia, who would then have an audience with the Dowager Empress in Paris. When they’d duped the old woman they’d collect the reward for finding her granddaughter and live a grand life.

The live theatrical musical closely follows the plot of the animated version, with a few differences. Gone are all the supernatural elements. McNally replaced the evil, power hungry sorcerer, Rasputin, along with his accomplice, Bartok, an albino bat, with a vengeful Bolshevik General named Gleb Vaganov. The young military man has received orders to finish the assassination of the entire Romanov family, and so he pursues Anastasia with the goal to kill her.   

Six songs were retained from the film. But Flaherty and Ahrens have also embellished the score with 16 brand new numbers. The best songs from the show include the Act I finale, the catchy  anthem, “Journey to the Past,” as well as the haunting waltz, “Once Upon a December,” first heard coming from a music box which Anastasia’s Nana gave her at the beginning of the play. In a very different vein, the opening of Act II, also from the movie, is the rousing production number, “Paris Holds the Key (To Your Heart).” 

The Broadway production earned several awards for the  advancement of design and implementation of videos and projections to create an abundance of lavish, movable and colorful interiors and locations. Thanks to Aaron Rhyne’s creativity, ghosts dance through the air, a railway journey gives the illusion of a train car racing toward to audience and settings can be shifted from Russia to Paris within seconds. Alexander Dodge’s scenic design serves as the canvas upon which these electronically-produced special effects can play. One of the most impressive effects is Peter Hylenski’s thundering explosion that rocks the audience, enhanced by Rhynes’s projections of attacking soldiers against a blood red sky. Donald Holder’s lighting design creates depth and drama in every scene. In addition, the unbelievably lavish costumes, designed by Tony Award-winner Linda Cho, leave no doubt in every little girl’s mind that they’re seeing a Disney fairytale come to life.

Exquisitely directed by Darko Tresnjak, who left such an impression with his multiple Tony Award-winning Broadway production of “A Gentleman’s Guide to Love and Murder,” has recreated the magic and majesty of his original New York production. It helps that he has an impressive, all-Equity cast of talent, with which to work. Broadway star, Lila Coogan is earnest, lovely and sings and dances beautifully as Anastasia. Good-looking Stephen Brower stepped out of the ensemble of the Broadway production to create a dashing and likable Dmitry. Jason Michael Evans, although often more two-dimensional than the actors who’ve preceded him in the role on Broadway, is powerful as Gleb. 

The Dowager Empress is regally portrayed by Broadway veteran Joy Franz, who lends grandeur and a touch of class to Anastasia’s loving Nana. Young Victoria Bingham is perfection as Young Anastasia. Edward Staudenmayer is lithe and positively lovable playing Vlad. And Tari Kelly practically steals the show as Countess Lily, a former royal and the Dowager Empress’ lady-in-waiting. This triple-threat has a killer voice, excellent choreographic talent, great comic timing and a dynamic stage presence. Especially when coupled with Mr. Staudenmayer, this comic duo mines every drop of humor in what is often a very serious, dramatic musical.

Broadway in Chicago’s latest National Tour is so perfect for family audiences, especially during what is probably Spring Break for most Chicago children. It’s a musical that brings to life another Disney princess, which the little girls in audience certainly enjoyed. The Cinderella story combines elements from “Fiddler on the Roof” with “Les Miserables” and “My Fair Lady.” With a gorgeous score, an exciting scenic/projections design, sumptuous costumes and a cast of gifted union performers bringing the story to life, this is one special, breathtaking production for all ages that shouldn’t be missed.

Highly Recommended

Reviewed by Colin Douglas          

Presented March 27-April 7 by Broadway in Chicago at the James M. Nederlander Theatre, (formerly the Oriental Theatre), 24 W. Randolph, Chicago.

Tickets are available at all Broadway in Chicago box offices, the BIC Ticket Line at 800-775-2000 or online at www.BroadwayInChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.