Georgina Hopson as Anya in ANASTASIA. Image credit: Jeff Busby

Have you heard, there’s a musical in Brisbane. Have you heard, it’s the Broadway Hit Musical ANASTASIA.

That’s right, the beloved animated classic has been revived into a fully staged adaptation of the historical legend of the survival of Russian Grand Duchess Anastasia Nikolaevna. Nostalgic catnip for millennials who grew up with the film, now presenting an opportunity to share the tale with their own children, this story is told perhaps a little differently than what audiences may be familiar with.

The productions biggest strength is its music. Whilst audiences can expect to hear the iconic classics such as “Once Upon a December” and “Journey to the Past”, there is also an array of enchanting additions to the score, including “In My Dreams” which Georgina Hopson sings to perfection. The musical at times carries a similar rhythm to Disney’s Mary Poppins, particularly in the drawn-out dance numbers set in the town square and through the character of con-man Dmitry, who possesses a distinctly Bert-like quality.

Georgina Hopson (My Fair Lady, Phantom of the Opera, Titanique) is an absolute star as Anya/Anastasia and it is lovely to see her take ownership of this leading role, naturally imbuing the nature of a real princess into her performance, delivering beautiful vocals throughout. Robert Tripolino (Jesus Christ Superstar, Les Misérables) and Rodney Dobson (Beauty and the Beast, Moulin Rouge) star alongside Hopson for this musical adventure as Dmitry and Vlad. Tripolino brings an energetic and charming performance as Dmitry with Dobson adding to the fun as the comical and conniving Vlad, with a flirtatious side to him when firecracker Rhonda Burchmore (Sister Act: The Musical, Into the Woods) joins in the second act as Countess Lily, a former lover of Vlad’s. As I watched this production, I couldn’t help but notice how the unlikely trio of characters resembled Eliza, Professor Henry Higgins, and Colonel Pickering from My Fair Lady. Whether intentional or not, their relationships and the way their story develops follow a strikingly similar pattern.

This musical does have its differences from the film. Where once stood the evil Rasputin, who in the animated feature sells his soul to curse the Romanov family, now stands a more historically grounded character in Bolshevik officer Gleb, who is tasked with ensuring that any rumours of the missing princess are swiftly snuffed out, with orders to kill her if she does in fact turn out to be alive. Joshua Robson (The Phantom of the Opera, Muriel’s Wedding the Musical) gave a commendable performance as Gleb, bringing incredible vocals to the role. Having read commentary on the musical’s previous visits to Sydney and Melbourne, there were some who felt the production was filled with historical inaccuracies. This may, in part, stem from the decision to replace Rasputin with Gleb. Had the role remained with Rasputin, it might have been clearer that the story was never attempting to present a historically accurate account, rather than leaving audiences to reconcile the fictional elements with the more historically grounded characters and events.

Although the production does have its strengths, the dialogue could certainly use some improvement. Unfortunately, it does not always meet the standard of storytelling found in the soundtrack, often relying on clichéd and cheesy lines that make it difficult at times to remain immersed in the story and suspend disbelief. Watching the production, it is evident that this is not a reflection of the cast’s performances, but rather the material they have been given to work with.

Whilst I am less opposed to the use of digital screens in stage productions than I once was, it was somewhat disappointing to see many of the graphics used here resemble stock photography rather than animated or hand-drawn artwork. The latter would have complemented the artistic elements already carved into the golden proscenium arch and contributed more strongly to the production’s visual identity. When Anya, Dmitry and Vlad travel to Paris from St Petersburg, scrolling maps appear in the background to signify their journey. Unfortunately, these looked closer to Google Maps than a theatrical interpretation of their travels. Hand-drawn maps would have served the story far better, creating a less distracting and more complementary visual element while adding to the fantasy and whimsy of the story.

Despite the elements that occasionally weaken its storytelling and theatrical consistency, the mystery surrounding Grand Duchess Anastasia Nikolaevna lives on through an enchanting tale that continues to capture the hearts of audiences, both old and new.

ANASTASIA The Hit Broadway Musical is now playing at QPAC’s Lyric Theatre until 18 October.