Anastasia is Gloriously More Entertaining Than Other Editions

By Oline Cogdill

The myth that the Grand Duchess Anastasia Nikolaevna Romanova survived the Russian royal family’s execution by a group of Bolsheviks in 1918 has spawned numerous articles, books, movies, an animated film and the musical Anastasia, now enjoying a glorious production from Slow Burn Theatre Company through Jan. 5 at the Broward Center.

The idea that any member of the Imperial family could have escaped the brutal massacre at the start of the Russian Revolution is preposterously false. And it would seem to be an unlikely subject for a musical. But the creative team of playwright Terrence McNally and composer-lyricists   Stephen Flaherty and Lynn Ahrens, all of whom worked together on Ragtime, made it happen, using the Disney animated Anastasia as source material

Despite its dark source, the musical Anastasia is an uplifting story befitting Disney’s legacy, morphing into a tale of hope and of a young woman discovering who she is and asserting her independence.

Having seen the musical both on Broadway and the 2019 national tour at the Broward Center, Slow Burn’s version of Anastasia delivers a richer, even more entertaining production.

The credit begins with director Patrick Fitzwater and choreographer Cat Pagano both of whom show an infinite ability to wrangle a large cast of actors and dancers into a cohesive production that soars.

The production also benefits from an outstanding cast led by Mikayla Cohen as the titular Anastasia, delivering a star-making appearance.

Anastasia begins at the opulent Romanov palace of Tsar Nicholas II and his wife, Tsarina Alexandra, who were Imperial Russia’s last sovereigns. Their luxurious life has made them oblivious to the poverty and struggles of the Russian people, and to the fact that a Revolution will soon destroy the life they know.

After royalty has been obliterated, Russia is in worse condition with poverty, starvation and homelessness overwhelming the streets. Rumors begin to circulate that the Grand Duchess Anastasia, the family’s youngest daughter, somehow lives.

Where there are rumors, scams soon follow. Two conmen—the streetwise Dmitry and former aristocrat Vlad—devise a scheme that will allow them to escape Russia for Paris and make some money. If they can find a young woman who could pass as the Grand Duchess, they might be able to convince the Dowager Empress, who lives in Paris, that her favorite granddaughter lives.

The scammers may have found the candidate in Anya, a young amnesiac scrapping by as a street sweeper. They start trying to turn her in Anastasia by teaching her poise and details about the royal court. But she seems to know more details about royal life than they do. She also speaks flawless French as did the royal court.

Meanwhile, word has reached the new regime headquarters that Anastasia may have survived, or a young woman is posing as her. Either way, the real survivor or the imposter must be eradicated. The royal family were collateral damage and must be quashed to preserve the new Socialist order.

Cohen’s solid acting and clarion singing bring a strength as her character goes from a downtrodden Anya who cannot remember who she is to a regal Anastasia. Cohen makes the audience believe this former waif could indeed be the surviving Anastasia. Cohen has been in several Slow Burn shows but “Anastasia” proves she can carry a production. Plus, she really rocks those beautiful gowns.

Jarod Bakum is the charming conman Dmitry who seems to be the ultimate barker. But Bakum balances Dmitry’s personality with a naivete and a deep-seated sincere concern for Anya/Anastasia. As Dmitry’s partner in crime, Vlad, Aaron de Jesus shows a full bloom personality that makes it understandable why he is no longer welcomed by royalty, but he is certainly fun to watch.

Gail Bennett proves what a game comedienne she is as the Dowager’s lady in waiting Countess Lily. Bennett, most recently one of the witches in Slow Burn’s The Witches of Eastwick, has a couple of show-stopping numbers and makes the most of them.

Sean William Davis delivers a complicated portrayal as the strict yet conflicted soldier Gleb, a true believer in the new Socialist order who is charged with getting rid of Anastasia. Davis shows how Gleb fights with his own values of being a hard Soviet officer who wants to follow his father, a royal guard turned executioner, and his concern and attraction to Anya/Anastasia.

It’s always a joy to see Laura Turnbull turn every role into a major force. Here, she’s the Dowager Empress trying to be stoic while quietly grieving that her entire family has been murdered in Russia. Turnbull shows the hope she holds when numerous young women have tried to convince the Dowager they are Anastasia, and how these fakes have caused her to spiral lower into grief.

Since it began in 2009, Slow Burn has established a reputation for identifying young talent and amassing a repertory troupe of sorts. This continues with Anastasia  with its 22-member cast that includes those in the royal court, the ex-pat community in Paris and the ballet dancers in the Swan Lake sequence. To mention just a few—Ryan Crout (who doubles as music director), Jorge Valero, Caiti Marlowe, Michael Hunsaker, Jamal Campbell, Kassi McMillan (who doubles as dance captain), Sarah Sun Park and Michael Materdomini.

Rick Peña once again outdoes himself with his beautiful costume designs. His outfits for the downtrodden Russians, the ex-pats in Paris and the everyday outfits are well-thought out. But his gowns are gorgeous, their lavishness matching the palace’s luxurious setting. The grandeur of Anastasia’s gowns—the blue ballet gown, the red strapless—are stunning show stoppers. Peña’s designs for Anastasia’s daily clothes epitomize how this character has grown in sophistication.

Adding to the ambience are the visual backdrops that depict Russian streets, St. Petersburg becoming Leningrad, the countryside. A cheer goes up when the background shows the three have reached Paris. Images of dancers, street scenes and soldiers on the backdrop convey the illusions of various action. The credit projection design is by Kacey Koploff, scenic design by Nikolas Serrano and lighting design by Eric Norbury. The “train” that ferries the ex-pats to Paris is as an exciting piece of stagecraft as the real train would be. A special note also belongs to fight choreographer Lee Soroko and Dan Donato for sound design.

Dark subjects aren’t unusual for musicals—think South Pacific, Les Misérables and Evita. Anastasia continues that tradition, and Slow Burn handles it with aplomb.

Anastasia runs through Jan. 5 at the Amaturo Theater, Broward Center For The Performing Arts, 201 SW 5th Ave., Fort Lauderdale. Performances are 2 p.m. Dec. 24 and Dec. 29; 2 p.m. and 7:30 p.m. Dec. 26; 7:30 p.m.  Dec. 27, Dec. 28, Jan. 2 and Jan. 3; and 1 p.m. and 7:30 p.m. Jan. 4. Running time approximately two hours, 20 minutes with one 20-minute intermission.  Tickets start at $72. Call (954) 462-0222 for tickets, at www.browardcenter.org or in person at   the Broward Center’s Auto Nation Box Office. Info at www.slowburntheatre.org.