Anastasia

Vienna Youth Players

Photo Credits: Nate Hampel

“One step at a time… one hope, then another… who knows where this road may go?”

In the case of Vienna Youth Players’ production of “Anastasia,” it led to a heartfelt tale of reconnection. This ensemble’s graceful dance and poignant emotion brought both the Russian and Parisian settings to life, and each performer was bursting with stories to tell.

Anastasia

Let’s start off with a little bit of background on the show, shall we?

Based on the 1997 animated film, “Anastasia” explores the legend surrounding Grand Duchess Anastasia Nikolaevna of Russia, who was rumored to be the only survivor after her royal family’s execution. While this didn’t actually turn out to be the case in real life, the plot of the movie (and the musical) take their own creative liberties with the story. 

The musical takes place during the Russian revolution, in a time where the country was undergoing a radical change to communism. Con men Vlad and Dmitry decide to take a street sweeper named Anya under their wing and teach her to pretend to be Anastasia, with the hopes of fooling the Dowager Empress and reaping the prize money for her return. Anya only agrees to the plan because it involves traveling to Paris: a place she’s always wanted to see, and that she feels like she’s somehow connected to. As it turns out, Anya doesn’t have to pretend to be the princess that much after all… who saw that one coming?

Quick lore drop: the score of “Anastasia” is composed by husband-wife team Stephen Ahrens (music) and Lynn Flaherty (lyrics). This couple has quite the catalog of shows, including Ragtime, Once on This Island, Rocky, and none other than Seussical the musical.

So, yeah. It wasn’t until I did research for this show that I realized the same couple who wrote the heartwrenching “Make Them Hear You” also wrote “Oh the Things You Can Think.” If you know of a songwriting team with a more diverse selection of repertoire, I’d love to hear it.

Anyhoo, side quest over--back to Vienna Youth Players’s production.

Standout Performances

This ensemble (which ranged from rising 5th graders to graduating seniors), did a great job filling out the streets of Leningrad and Paris. No matter the setting, each actor crafted a character with their unique story to tell, and in doing so, added real life to the scene. A particular highlight was the number “Stay, I Pray You,” in which Loic Razanakoto’s Count Ipolitov sang a passionate ode to the homeland he’s leaving behind. Eventually all other ensemble members waiting at the train station joined in, and the haunting melody escalated into a vow that tugged at the heartstrings. 

Who else was waiting to board the train but our central trio of the story? None other than Anya, Dmitry, and Vlad, who were played by Celeste Collins, Romain Dairay, and Nate Borrowman, respectively. These performers certainly had entertaining banter with one another; Collins excelled in embracing the stubborn spirit of Anya, Dairay oozed charm as Dmitry, and Borrowman leaned into the jovial energy of Vlad. In numbers that demanded rapid-fire exchanges, like “Learn to Do it,” it was clear the performers were in tune with another. Collins and Dairay also had their share of heartwarming moments, particularly in their moving rendition of “In a Crowd of Thousands.” 

Fun fact: “In a Crowd of Thousands” is one of my favorite musical theatre duets of all time (“Suddenly, Seymour” is also a strong contender), and I can safely say that the pair’s passionate performance did it justice!

Elizabeth Cha effortlessly portrayed the cleverness and sarcastic nature of Countess Lily. Her rendition of “Land of Yesterday” was riveting, and her shameless flirting with Borrowman had the audience chuckling.

Sidney Walkup was heartbreaking in the role of Dowager Empress, and did an excellent job portraying the woman’s age without sacrificing her energy or vocal quality. By the time she performed “Once Upon a December (Reprise)” opposite Anya, I realized just how invested I’d become in her fruitless search for her long-lost granddaughter. 

Shane Gibson was perfectly stone-cold in the role of Gleb: the high-ranking Bolshevik officer tasked with eliminating Anastasia. He addressed the people of Leningrad with a fixed expression, but cleverly revealed hints of vulnerability in front of Anya. His final confrontation was tense, to say the least. I could visibly see Gibson’s hand shaking as he held the pistol in front of him: the illustration of a confused, conflicted man.

One final moment I’d like to shout out from the cast was the number “Quartet at the Ballet,” in which Ella Brown and Carter Smith enacted a performance of “Swan Lake” as Odette and Von Rothbart. Both performers, alongside the other ballerinas, glided across the stage with grace throughout. I mean, who doesn’t love a show within a show?

Who Is It For?

At its core, “Anastasia” explores themes of hope, family, and self-discovery. It’s got the charm and fantasy of a classic Disney princess tale, but with more mature undertones. Granted, it’s not the only princess story to take place during a time of war (a la Mulan), or to involve the death of numerous family members (a la Snow White). 

It’s a lengthy show, but there’s a tense nature to the plot that keeps it moving along. Plus, the ensemble is often present onstage to break up scenes and musical numbers. I’d recommend the show for ages 10+, or maybe even younger if they’re mature and understand the scope of the story.

Don’t wait to purchase a ticket to “Anastasia” and support these hardworking students; Vienna Youth Players only have one weekend left to perform, and their first weekend was completely sold-out!

Visit https://www.viennava.gov/Events-directory/Vienna-Youth-Players-Production for more information.