Anastasia

Anastasia the musical is about identity, memory, and the search for belonging. It follows Anya, a young woman with no recollection of her past, as she journeys from the streets of St. Petersburg to the glamour of Paris in the hope of discovering who she truly is. The musical blends history with myth, weaving a story of resilience, hope, and the power of believing in oneself. Manchester Musical Theatre Youth did a fine job presenting this musical. If you’re not sure of the demands of Anastasia, it requires a certain degree of vocal maturity, emotional depth, and sustained characterisation. The score is intricate, the transitions are swift, and the storytelling relies heavily on performers being able to shift between intimate moments and sweeping, cinematic sequences. This company rose to the challenge with admirable commitment.

I must commend every single performer in this musical. They were so well drilled, performing with a thirst for storytelling and a clear understanding of the world they were creating. The ensemble moved with purpose, listened to one another, and maintained a strong sense of unity throughout. Their discipline was evident in every transition, every harmony, and every moment of shared focus.

The Opening Fanfar led the way for the story to unfold with grandeur. It immediately established the tone of the production, regal, mysterious, and full of anticipation. Once Upon a December was thoroughly enchanting, delivered with a beautiful blend of nostalgia and delicacy. The performers handled the musical phrasing with care, allowing the number to float across the stage with a dreamlike quality. Stay, I Pray You was another number that stood out, filled with emotional sincerity and vocal strength. The ensemble’s ability to hold the harmonies with such clarity made this moment particularly moving.

The characters’ ability to seamlessly transition on and off stage was impressive. Anastasia is a musical that relies heavily on fluid movement, and this company executed it with precision. Whether shifting from bustling street scenes to intimate palace memories or from comedic moments to dramatic revelations, the cast maintained a strong sense of rhythm and pace.

In addition to strong vocals and characterisation, this musical was supported by a wonderful array of purposely suited costumes. This was wonderful to see because Anastasia demands a visual richness, from Russian military uniforms to Parisian couture, and the costume team delivered a palette that enhanced the storytelling. The attention to detail helped define status, personality, and location, adding depth to every scene.

Anya, wonderfully played by the very talented Adali Strayer, made her performance effortless. She almost glided through this part and across the stage. Adali has a striking performance quality that makes her impossible to overlook. Her vocals in Journey to the Past were wonderful because she shaped each phrase with emotional clarity, allowing the audience to feel Anya’s determination and vulnerability. Her interaction with Dmitry was fantastic, especially in moments where their relationship shifted from guarded partnership to genuine connection. Adali handled these transitions with subtlety and maturity. Dmitry, played by Isaac Ford, was another performer who completely commanded the theatre space. What I particularly liked about Isaac’s performance was his quality of diction and his pacing with dialogue, constantly changing it at appropriate intervals to cleverly keep the audience engaged. Isaac also holds himself brilliantly on stage and is a formidable force with proxemics, wonderfully utilising the performance space with confidence and intention. His chemistry with both Anya and Vlad was strong, and his vocals in My Petersburg were delivered with heartfelt sincerity.

Gleb, played by Charlie Lockett, was so wonderfully played because he was able to capture the character’s internal conflict with nuance. Gleb is a complex role, torn between duty, loyalty, and personal longing, and Charlie portrayed this with emotional depth. His vocal delivery in The Neva Flows carried both authority and vulnerability, making his performance compelling to watch. Vlad, played by Charlie France, brought charm and humour to the stage. His comedic timing was excellent, and he balanced the character’s flamboyance with genuine warmth. Vlad is a role that requires both vocal strength and strong character work, and Charlie delivered both with ease.

Being no stranger to the stage is Freya Gow playing Lily. The characterisation was wonderful because Freya’s ability to command the space was excellent, particularly in Lily’s musical number Land of Yesterday. Freya has a certain artistic flair that makes her performance captivating. Her comedic instincts were sharp, and her vocal delivery was confident and expressive. Kitty Little as Dowager Duchess delivered her character with great RP that was wonderfully consistent throughout. I liked how Kitty was able to command through voice and status without overplaying this. The Dowager Duchess is a role that requires restraint and elegance, and Kitty handled this with maturity, shaping a performance that felt grounded and dignified.

Finn Walker, another formidable force on stage, gave a wonderful interpretation of Tsar Nicholas. The way Finn carried himself, with regal posture and controlled movement, added authenticity to the role. His presence in the opening scenes helped establish the historical weight of the story. Joss Gavaghan is another wonderful actor who exudes expressive facial work that constantly draws your attention. The way she characterised Tsarina was graceful and emotionally resonant, adding depth to the royal family’s portrayal. Freddie Cummins, another performer who enters the theatre space with purpose, played Count Ipolitov with confidence and clarity. His vocal delivery was strong, and he contributed effectively to the ensemble storytelling.

There were so many wonderful moments within this production, such as the ballet section, delivered beautifully by Beth Wilson, Francesca Ballard, Theo Barosa‑Derbyshire, and Kayden Parkinson‑Herron. Kayden had some slight nerves showing on his face, young man, you have nothing to be nervous about. Your execution of the deep pliés, seamlessly transitioning to well‑placed arabesques and strong upper‑body control to maintain pas de deux, was great. The entire ballet sequence added elegance and sophistication to the production.

Overall, Dave Holden and Kimberley Holden (producers/musical direction) and Matthew Rawcliffe (choreographer), with assistance from Sarah Mullins, Francesca Ballard, and Rose Warburton, created a thoughtful, polished, and emotionally rich production. Their combined efforts shaped a musical that showcased the talent, discipline, and passion of every young performer involved.

Thank you once again for your kind invitation. I look forward to seeing you all soon.

© NODA CIO. All rights reserved.