Anastasia

As the story begins, Russia is on the verge of revolution. Time jumps from 1907 to 1927, and Anastasia's family, the imperial Romanovs, fall victim to the tide of history. When the Dowager Empress Maria receives the news that they have been put to death, she believes she has lost her entire family.

In 1907 we meet the young Anastasia along with her grandmother the Dowager Empress Maria. The role of the young Anastasia was split between Alice Harper and on the evening I watched, it was played by Summer Cook who spoke up very well. The Dowager was played by Victoria Wishart with absolutely the right bearing and demeanour throughout her performance. The Dowager gives Anastasia a music box, with no idea that this might be the last moment she sees her. The number ‘Once Upon a December’ had a haunting quality about it I enjoyed.

Rumours begin to surface that one Romanov daughter might have survived. Dmitry and Vlad, two opportunistic Russian con artists, attempt to find an impressionable girl to pass off as Anastasia to the Dowager Empress, who is offering a reward for her granddaughter’s safe return to Paris. They find Anya, a young woman suffering from amnesia, who has spent the past years traveling across Russia. Dmitri was well played by Noah Glyde, who had a good voice and presence and so too did Linus Hughes as Count Vlad Popov. The two worked well together and their trio with Anya ‘Learn To Do It’ was a delight.  

Anya who later proves to be the missing Anastasia, was played by Ellie Morris. Ellie gave an outstanding and natural performance, from her opening number ‘In My Dreams’ sang with great expression and feeling. Her closing number in Act 1, ‘Journey To The Past’ was a highlight; Ellie was in complete command of the stage.

Anya’s activities have caught the notice of a rising Communist official, Gleb, whose father was involved in the murders of the Romanov family. Gleb tells Anya—in no uncertain terms—that if she continues to pose as Anastasia, she will end up like the Romanovs. Gleb was played by Cameron Morris who I have seen mature in each role he has played and I was impressed by his unhurried, poised dialogue and his number ‘Still’ was sung with great feeling.

Supporting roles including George Forsyth as Count Ipolitov  / Count Leopold, and the senior and junior chorus provided great support throughout from ‘The Last Dance of the Romanovs’,  ‘A Rumour in St. Petersburg’ through to ‘Paris Holds The Key’ at the opening of Act 2, and beyond. Whilst there were occasions when everyone was on stage, it did not feel cramped as the choreography was tight and well performed. ‘Sextet At The Ballet , performed by two ballerinas (Abi Brierley and Lizzie Tresadern) as another highlight.

Dmitry and Vlad begin to “teach” Anya what she needs to know if her claim to the Romanov family is to be believed. Anya, Vlad, and Dmitry escape Russia, on the way to Paris.  The scene on the train and their jump from the train was effective. Once in the city of lights, Vlad attempts to reconnect with Lily, the Dowager Empress’s lady-in-waiting and his lost love, to arrange a meeting between the Dowager and Anya. Lily was another divided role,  between Georgie Levine and on the evening I watched, Mimi Groves.  Mimi had great stage presence and a strong voice and her number with Vlad ‘The Countess And The Common Man’ was excellent.

It was a lovely scene when the Dowager and Anastasia eventually meet and she presents the music box and calls the Dowager ‘Nana’ as she once did, and so too was the scene between Anastasia and Gleb excellent, when Gleb who has tracked her all the way from Russia to finish the job his father started. Haunted by memories of the Romanov family, however, he cannot pull the trigger. This scene was well handled.

I liked the simple set, based on three large picture frames, through which many of the cast used to enter and exit . Props and furniture were moved efficiently by the cast between scenes. Other than one short dark spot occupied by some principals, the lighting was good. The band was excellent. Too often I call the band for overpowering the singers, but at no time did I feel this was the case. Wymsical once again provided a challenging production for the youngsters to tackle which they did with great success under the experienced direction of Alec Fellows-Bennett. My final word must go to the Costume Team led by Britt Needham and included Aran Hall, Carole Howe, Claire Jeffries, Katie Palmer, Nicky Thomas, Pammy Watkins and Millie Young, whose hard work created superb costumes.

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.