Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Book by Terrence McNally
Choreography by Peggy Hickey
Directed by Darko Tresnjak
Christy Altomare, Derek Klena, John Bolton, Ramin Karimloo, Caroline O’Connor, Mary Beth Peil
Scenic Design: Alexander Dodge
Costume Design: Linda Cho
Lighting Design: Donald Holder
Sound Design: Peter Hylenski
Projection Design: Aaron Rhyne
First Performance March 23, 2017
Opening April 24, 2017
Submit a review for Anastasia
Inspired by the beloved films, the romantic and adventure-filled new musical Anastasia comes to Broadway.
From the Tony Award-winning creators of the Broadway musical Ragtime, this dazzling show transports us from the twilight of the Russian Empire to the euphoria of Paris in the 1920’s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing con man and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love and family.
Anastasia features a book by noted playwright Terrence McNally and a lush, original score by Stephen Flaherty (music) and Lynn Ahrens (lyrics). Tony Award-winning director Darko Tresnjak directs.
Anastasia will star Christy Altomare as “Anya,” Derek Klena as “Dmitry,” John Bolton as “Vlad Popov,” Ramin Karimloo as “Gleb,” Caroline O’Connor as “Countess Lily Malevsky-Malevitch,” Mary Beth Peil as “Dowager Empress Maria Feodorovna.”
Ben Brantley – New York Times
The amnesiac title character of “Anastasia,” who may or may not be the long-lost daughter of the last Russian czar, isn’t alone in suffering a serious identity crisis. The postcard-scenic show that bears her name, which opened on Monday night at the Broadhurst Theater, has its own troubling case of multiple personality disorder.
Frank Rizzo – Variety
Young women and girls in search of a new Broadway role model need look no further than the title character in “Anastasia,” the sumptuous fairy tale of a musical that should please the kids, satisfy the sentimental and comfort those who thought the old templates for musical comedy were passé. The broad strokes of the familiar — a romantic young couple, a villain in hot pursuit, comic supporting characters, an endearing family member — can still be irresistible when combined with taste, craftsmanship and a willing suspension of disbelief.
Caitlin Brody – Entertainment Weekly
Released in 1997, Anastasia was a dazzling 94-minute animated movie musical. Twenty years later, it’s a fidget-inducing, two-and-a-half-hour Broadway musical, with a production not nearly animated enough to warrant that running time.
Jeremy Gerard – Deadline
So while you may not leave the Broadhurst Theatre humming the scenery, you may be a bit dizzy from the whizzing and zooming as maps – often with Cyrillic name places – and locations urge you along the journey from the Russian revolution to luxe exile in France. Whether you leave humming the actual melodies by Stephen Flaherty (music) and Lynn Ahrens (lyrics), building a more serious score to Terrence McNally’s book than they wrote for the film, well that’s another matter. It’s not altogether impossible.
Joe Dziemianowicz – NY Daily News
The show, despite being filled with some very good songs and performances, suffers from its own identity crisis. It’s got a split personality and is torn between whether it’s serious drama or frothy musical comedy.
Tim Teeman – The Daily Beast
Despite a closing curtain of narrative ambiguity, this lushly orchestrated, gently delightful musical, directed by Darko Tresnjak, takes the view that the famous daughter of the Romanovs did survive the massacre of the Russian imperial family at the hands of the Bolsheviks in 1918, and—having fallen in with a loveable conman and louche aristocrat—sets off for Paris to prove her identity to her surviving grandmother.
Jessie Green – Vulture
Many a Broadway musical adaptation seems like an Ikea product you’re supposed to admire just because someone was able to assemble it. Anastasia, opening tonight at the Broadhurst, is that kind of show. As with Charlie and the Chocolate Factory, which opened last night, top theatrical talents have busied themselves with the project of staging a beloved story that ought to have been left alone. But at least the creators of Anastasia — the book writer Terrence McNally, the songwriters Stephen Flaherty and Lynn Ahrens, and the director Darko Tresnjak — have emerged with a product that will not actually collapse on first use.
Chris Jones – Chicago Tribune
There is a lot more music in the show than in the film —some 19 new songs, some quite charming — and the show benefits inestimably from Altomare’s rich characterization and her empathetic presence. This is not a musical that wants to start a revolution. To say the least. But once Terrence McNally’s book finds its feet, and the physical production gets out of the way of the several gorgeous, old-school ballads therein (including, of course, “Journey to the Past,” superbly rendered by Altomare), “Anastasia” has its moments of credible emancipation.
David Rooney – The Hollywood Reporter
That, of course, is the key selling point of this pretty but anodyne musical, which ends up being more satisfying than the sum of its parts. It’s a fairy tale whose princess chooses her own kind of prince, a destiny foretold in the stirring shared childhood recollection of Dmitry and Anya, “In a Crowd of Thousands.” It’s kitschy, old-fashioned entertainment given a relatively sophisticated presentation, and you have to acknowledge its success when you hear the target demographic swoon on cue.
Robert Hofler – The Wrap
McNally, Flaherty and Ahrens’s last Broadway collaboration was “Ragtime.” Their penchant for the solemn and the high-minded is now under control. Only every other song is an anthem.
It’s no wonder that the story of Grand Duchess Anastasia Nikolaevna Romanova continues to fascinate a century after her death: Hers is one of the few modern fairy tales everyone wants to believe in. The youngest daughter of Russia’s final tsar, Nicholas II, not killed as is popularly accepted, but instead escaping the slaughter of her family during the 1917 Bolshevik Revolution and lying in wait to reclaim the crown and esteem that are rightfully hers? It’s reality, fantasy, magic, suspense, and more all wrapped up in one glittery package that has proven prime fodder for movies, plays, and musicals over the last handful of decades. And chances are that the inoffensive but middling latest incarnation of the tale, titled Anastasia, which just opened at the Broadhurst, won’t be the last.