Broadway musical Anastasia makes its Australian premiere in pristine form, boosted by the sterling talents of the superb local cast. 

Having the distinction of being the first musical by Broadway composers Lynn Ahrens and Stephen Flaherty to have a full scale commercial Australian tour, Anastasia boasts the characteristic combination of a delightfully tuneful score and intelligent lyrics. The handful of songs from the 1997 animated movie are expanded into a lush, full score, focusing on a tight set of core characters. 

Ahrens and Flaherty pair with frequent collaborator Terrence McNally, who weaves a mysterious tale of romance, royalty, and regret. 

After a brisk prologue shows the extravagant lifestyle and brutal massacre of the wealthy Romanov family, the action moves forward to the streets of Leningrad where peasants are intrigued by the idea that the Grand Duchess Anastasia may have survived. Dmitry and Vlad train the (convenient) amnesiac Anya in the hopes that they will be granted the reward for “finding” the lost Duchess. The mystery deepens when Anya occasionally has memories that only the real Anastasia would know. 

The serious tone lightens considerably in act two when the chancers arrive in Paris, where Vlad reunites with the effervescent Countess Lily, now lady in waiting for Anastasia’s grandmother, the Dowager Empress. The story climaxes as Anastasia attends a performance of Swan Lake in the hope of meeting with her grandmother. 

Although the plot is stretched somewhat thinly over the running time of 160 minutes (including interval), director Darko Tresnjak maintains audience interest with a cinematic sense of momentum, readily supported by the video design of Aaron Rhyne. The set designs of Alexander Dodge serve as an elegant framework for a full width set of LCD screens. The impact of clever visual effects such as the ghostly apparitions of the departed Romanovs and the motion of the train are diluted by overuse of the video screens but the overall result is very attractive. 

Costume designer Linda Cho vividly conjures a number of worlds, from the all–white elegance of the Romanovs to the dusty streets of Leningrad to the fizzy zip of 1920s Paris. Anastasia’s journey from drab shapeless rags to elegant ball gowns plays a significant part in the character’s arc of personal discovery. 

Musical director Anthony Barnhill conducts a tight orchestra of ten musicians, whose versatility lends an added richness to the musical performance. Choral vocals are first rate, and it is hard to recall a set of principal roles sung with such uniform strength and beauty. 

Although more of a dramatic, choral musical, Anastasia nonetheless features some rousing dance sequences, most memorably the lively Charleston of act two opener “Paris Holds the Key (To Your Heart). Choreographer Peggy Hickey draws upon the triple threat talents of the cast to memorable effect. 

Prolific leading lady Georgina Hopson takes on the title role she richly deserves, giving a fully realised yet neatly underplayed central performance as Anastasia. Hopson’s vocals are reliably lovely, and she anchors the drama by creating authentic, affecting stakes for Anya’s journey to the past. 

Having enjoyed significant success on the London stage, local performer Robert Tripolino brings raffish charm to Dmitry, deftly filling out the character as both a slippery con man and a burgeoning love interest.

Australian stage royalty, Nancye Hayes is perfectly placed to bring regal presence to the Dowager Empress. Hayes leans in to the Empress’ haughty manners, and creates real tension at the climactic meetings with her potential granddaughter. 

In magnificent voice, Joshua Robson brings hefty gravitas to driven general Gleb, his compelling performance elevating the role well above that of a poor man’s Javert. 

Rodney Dobson shines in dual combinations, as Vlad acts as both bad influence and mentor to Dmitry and later acts as comic straight man with his past love Lily. 

The act two arrival of Rhonda Burchmore as Lily brings some much-needed humour and levity to proceedings, with Burchmore earning welcome laughs with both her comic delivery and quirky physicalisation. 

Sure to be a firm favourite with musical theatre aficionados looking for an homage to golden age musicals, Anastasia is family entertainment of the highest calibre. 

Anastasia plays at Regent Theatre, Melbourne until 20 February 2026. For tickets, click here.

Anastasia plays at Crown Theatre, Perth from 3 March 2026. For tickets, click here.

Anastasia plays at Sydney Lyric from 7 April 2026. For tickets, click here.

Anastasia plays at Festival Theatre, Adelaide from August 2026. Tickets on sale soon.

Photos: Jeff Busby