Once upon a September: National tour of ‘Anastasia’ is a flashy royal flush

Veronica Stern. Photo by Jeremy Daniel.

Opening night of Anastasia at the CIBC Theatre brought together people from all walks of life. From parents and their children to accountants with their work bags, people dressed in T-shirts and jeans, to others in floor-length gowns the Romanovs might have had made up, all were alight with the anticipation of seeing this critically-acclaimed musical on the Chicago stage. 

Though my background with Anastasia is little more than telling my friends that the film was “not a Disney film, but 20th Century Fox,” I was equally abuzz with excitement to watch a musical stuffed with bona fide Broadway pizzazz that I have not been privy to lately. 

Anastasia’s plot is equally derived from the historical curiosity of the Grand Duchess Anastasia Romanov and adapted from the more whimsical 1997 animated movie (itself the second Fox movie on the topic). At the boiling point of the Bolshevik revolution, the Romanov family is massacred, and all all hope seems to be lost for the citizens yearning for the past. But there is a rumor that there is one Romanov left alive: the Grand Duchess Anastasia. From these rumors emerge two opportunists, Dmitry and Vlad who plan to coach a girl into becoming Anastasia in order to claim reward money for her return to surviving relatives . They team up with the amnesiac Anya (Veronica Stern), and through their antics and eventual escape to Paris, they begin to uncover the mystery of Anastasia themselves. 

This tour does not disappoint, creating vivid portraits of Russia and Paris as they come to life on stage. Though the physical set itself is minimal, the projections that are laid within it, designed by Aaron Rhyne, are artfully displayed. The moments of subtlety are where these backgrounds truly shine, as they bring us to countless locations that can transition entire moods with a swiftness that is nearly magic. Less is more when it comes to projections, I think, a technology which can easily get swept up in the ingenuity of itself. A particular moment of true beauty was in Act One’s final song, “Journey to the Past,” where pink blossoms sway in the breeze, bolstering—not taking away from—the physical and musical presence of Anya.

These projections, in tandem with lighting designed by Donald Holder and costumes by Linda Cho, transported the audience completely into a new world. Lighting was especially poignant in moments of intensity, utilizing bright harsh, and, most strikingly, red light flushing the stage. Costumes rounded out this Russian/Parisian fantasy, from the sparkling jeweled gowns to the tattered patterns of beggars on the street. The two and a half hours spent sitting in the theater all but flew by like the ghostly apparitions of Anya’s past. 

Stern is a brilliant Anya/Anastasia. In her tour debut, she brings all the lightness and lyricism befitting of—dare I contradict myself?—a Disney princess. Her sweetness combined with her fiery passion makes Stern a powerhouse that is a joy to watch throughout the entire production. 

Another stand-out vocal performance comes from Ben Edquist as the Bolshevik leader Gleb. Edquist, an opera singer by trade, brings a tortured intensity to Gleb, a man determined to snuff out any trace of the Romanov dynasty. 

And I would be remiss if I did not mention Bryan Seastrom’s Vlad and Madeline Raube’s Countess Lily. The two are wonderful comic actors, as well as incredible vocalists, which make them a brilliant pair that may have stolen the entirety of Act Two. 

Underneath all these individual players is the wonderful ensemble. Each person brought liveliness and individuality to the stage, which had my eyes scanning the stage to enjoy what each actor did next. Additionally, the cast created entire atmospheres with their musical ability; the chills up my arms every time they appeared as Anya’s ghostly chorus are sufficient enough evidence for that. A special mention goes to ensemble member Amin Fuson, whose energy was entirely captivating, especially in the song “Stay, I Pray You.”

With tunes effortlessly executed by the orchestra, conducted by Jeremy Robin Lyons, leaving the theater that night I found myself infected with the music and magic of Anastasia, which certainly promises to bring more enchantment as its week in Chicago continues.

Anastasia runs through Sunday, September 25th, 2022 at the CIBC Theatre, 18 W Monroe St. For tickets or more information, please call (800) 775-2000 or click here.