Slow Burn’s ‘ANASTASIA: THE MUSICAL’ is a Stunning Fairy Tale For The Ages (and For All Ages), Sparkling with Nostalgia, Drama, and Warmth

Oh Anastasia – the last, lost princess of Imperial Russia’s Romanov dynasty. Is her story a legend?… A fairy tale?… A wish?… A dream? 

When times are tough we tend to romanticize a happier past. And if that past serves as inspiration to create beautiful art… Why, so much the better! The mythical survival of Grand Duchess Anastasia Nikolaevna – youngest daughter of Tsar Nicholas II and Tsarina Alexandra’s five children (after Bolsheviks brutally executed the royal family during the Russian Revolution of 1917) – has been celebrated by dramatic presentations on stage, on screen, via animation, musicals … even ballet. While embellished in many ways, the core story of a spunky young woman’s unflagging spirit of survival and search for self-discovery continues to inspire our souls and warm our hearts. 

I’ve seen some of the above versions – always with pleasure. Maybe I’m biased and/or still riding a high from Sunday’s matinee, but I certainly wasn’t alone in feeling that Slow Burn Theatre Company’s presentation of ANASTASIA: THE MUSICAL, playing through January 5, achieved a pinnacle of Anastasia-story-telling and musical perfection. That special Slow Burn musical touch, once again, excelled at immersing us in an alternate universe by embracing the splendor of old Imperial Russia. As well as the cold and scheming streets of St. Petersburg turned Leningrad, backed by an uneasy love story between a couple and between generations. They also managed to capture the romance and frenzy of Jazz Age Paris. 

Admittedly, this musical stands on the shoulders of some great creators. It was inspired by Guy Bolton’s adaptation of the play by Marcelle Maurette and then, of course, the popular 1997 20th Century Fox animation from which it kept six songs (and added 16). 

The live musical is actually fairly recent. An audience favorite since premiering on Broadway in 2017, it continues to tour worldwide. Anastasia: The Musical boasts the Tony-nominated team of playwright Terrence McNally with a score by Stephen Flaherty (music) and Lynn Ahrens (lyrics). For our production, Slow Burn’s Carbonell Award-winning artistic director Patrick Fitzwater once again serves as director. He’s joined by notable locals Cat Pagano as choreographer and Ryan Crout as music director/ensemble member. Everyone in the production team is first rate – and I’ll mention their special talents in a bit – but first must give a shout out to the absolutely unrivaled vocal and dance talent of every single member of the cast. And, yes, they were given great material to work with. Still, just about every number was a show stopper, met with enthusiastic applause! 

Let’s begin with the lead. The back screen date flashes “1927” when we first meet young-adult “Anya” (really Princess Anastasia who suffers from amnesia, night terrors, and is freaked out by loud noises). When Anya sings her opening solo, “In My Dreams,” we are dumbstruck by the incredible power and beauty of her voice. Mikayla Cohen, as Anya/Anastasia, gives a true star performance throughout. Cohen is described in the program as “an ‘upcoming’ singer, songwriter, and actor.” I’m yet to check out her original music, but as for her singing and acting, this show should definitely launch the South Florida-bred and internationally performing professional to “having arrived”!

Snippets of Anya’s dreams are portrayed by ghostly shadows of her family amidst Grand Ballroom dancers that, at times, emerge in person, resurrecting the musical’s opening waltz, “The Last Dance of the Romanovs.” The magic of that moment is palpable thanks to Rick Pena’s glittering diamond tiaras and lavish costume designs, topped by Fitzwater-styled wigs (he’s also credited for prop design). Pena’s costuming never ceases to impress; I also adored his subsequent Roaring Twenties’ fringed and sparkly flapper dresses.

A magical stage set that could instantly switch from chandeliered palace, to mean streets to Parisian cafe and Ballet is due to the creative vision of scenic designer Nikolas Serrano. I especially loved the bright open layout of his revolving railroad car, enhanced by Eric Norbury’s lighting design (there and throughout the show) along with the many historic and moving (physically and emotionally) scenery projection designs by Kacey Koploff. 

The Prologue to Act I ends with horrific fiery blasts, seen and heard through high, smoke-filled windows. Trigger alert (Anastasia could have used this, but maybe some audience members as well): There will be loud explosions and gunshots. Serious sound effects heighten the drama, along with music to convey the mood, thanks to Dan Donato’s masterly sound design. And we can safely (though it doesn’t look that way for the attacking ruffians) applaud Anya’s street-savvy fight skills thanks to Lee Soroko’s fight choreography expertise and fight captain Sarah Sun Park.

Anya’s hidden talents never cease to amaze. Her character is based on the real Princess Anastasia whose historical record up till age 17 describes her as fiercely independent (least-interested in royal protocol), witty, bright, vivacious and mischievous (often labeled “a troublemaker” as a child), but also loving and kind. She was prone to devising funny skits to entertain her family and lift their spirits during dire times. When two con men convince Anya to play the role of Anastasia to win the reward offered by the Dowager Empress (the princess’s grandmother) for her safe return, she sees it as her ticket to Paris. A place she feels in her bones she must get to – though she has no idea why.

But we do. The Prologue features the show’s iconic song, “Once Upon a December,” sung by Little Anastasia (Blaire DiMisa) and much-in-demand local star Laura Turnbull, now only recognizable as the Dowager Empress! She gifts her five-year-old granddaughter a special music box to remember her by as she takes off to Paris but promises they’ll be reunited there someday. (The music box survives some travels as well, but fate eventually returns it to its rightful owner. Fortuitous, as it comes to provide an essential link to Anastasia’s past and proof of her identity.) 

Years later, teen Anastasia tries, but fails, to retrieve her grandmother’s precious gift when the revolution comes knocking at their door. She only gets it back after commoner/con man Dmitri buys it from a Leningrad street vendor for two cans of beans, then gives it to her as a gift, admitting it’s broken and won’t open. He’s stunned when Anya instantly unlocks the mechanism, unleashing its lovely music and tiny circling dancers. 

We first meet that con man and his partner in crime in the musical number, “A Rumor in St. Petersburg” by Dmitry, Vlad and Ensemble. Dmitry is a tough but intrinsically kind-hearted young man, an orphan who raised himself on the streets of what he insists on calling St. Petersburg and to heck with “the people’s Leningrad.” His take on the Revolution: “Same empty stomach. Thank goodness for the gossip that gets us through the day.” The latest rumor to stir up the populace is hope that Princess Anastasia is alive. “They say the royal grandmother will pay a royal sum” for her return. 

Jarod Bakum not only plays Dmitry, he is Dmitry in all his complexity – from naive royal worship to defiant self-sufficiency. Making his Slow Burn debut in this major role, Brooklyn-based (but widely traveled) Bakum aces all his singing, dancing, and acting challenges.

Dmitry’s con buddy, Vlad, is also played by a Slow Burn newcomer, Aaron De Jesus. The busy theater and TV actor notes in the program that he’s excited to perform at Slow Burn with his wife Gail. That would be Gail Bennett whom I’d praised for her starring role in Slow Burn’s season opener, The Witches of Eastwick, in October. Here she again acts, sings and dances superbly, and sensuously, in her role as Countess Lily Malevsky-Malevitch, lady-in-waiting to the Dowager Empress. She’s joined by infatuated, disgraced Imperial Court member Count Vladimir Popov (in the show, and talented hubby in real life) in “The Countess and the Common Man.” In attempts to fend off aggressive reporters, Vlad and Lily also star together in “The Press Conference” number.

Despite his lofty position in the new people’s regime, Bolshevik General Gleb is instantly smitten by Anya the street sweeper. So he lets her go when three jealous would-be Anastasia impostors turn her into the authorities for fraud. Gleb battles with his conscience, wanting to believe his father did the right thing by following orders and assassinating the Tsar and his family, though he despaired of his actions to his dying day. The General warns Anya of the inherent danger of even fantasizing that she’s Anastasia because those in power want her dead. 

Ironically, he’s the one chosen to complete his father’s work and kill the last Romanov, resulting in heightened dramatic tension as he pursues Anya and her two conmen accomplices. Much-in-demand local actor (and Slow Burn regular) Sean William Davis delivers a fine-tuned portrayal of Gleb’s complex character. He is also an impressive vocalist who first stuns us with his rendition of “The Rumors Never End,” followed by “The Neva Flows” confession and warning, culminating in his conflicted solo, “Still.”

As if incredible music and song weren’t enough, we are also treated to striking dance variations: from classic waltzes followed by quicksteps in St. Petersburg to Russia’s traditional Kazotsky-style Kick Dance intermingled with French cabaret Can Can at a Parisian nightclub frequented by Russian expats and royal escapees where they nostalgically perform “The Land of Yesterday” (starring Countess Lily and Ensemble).  Kudos to dance captain Kassi McMillan for all her, and the troupe’s, hard work – and it shows!

Finally, any play that references the glory days of the Russian Empire wouldn’t be complete without at least a taste of their most famous royal ballet. You may not want to sit through an entire production of Swan Lake but I can guarantee you’ll love a few highlights as you join expat Romanov royalty at a fancy Paris Theatre. Lovely ballerinas in classic tutus and striking male dancers – featuring Madeline Dunn, Jamal Campbell, and Eric Rivas – remind us of how enchanting classical ballet can be.

Attending The Ballet in Paris stirs up memories and recognition between the Dowager Empress and Anastasia – but I’ll leave you to enjoy the thrills, chills, and near misses that make this story so much more than a quest for lost identity or even a grand romance. Every scene brings a fresh new delight that you simply must experience for yourself. And bring some tissues, for if you’re a softy like me, there will likely be sympathetic tears. 

My one word of pre-attendance advice would be to forget everything you know about the “true” story of Anastasia and let yourself be swept away by all the majesty, the hope, and the magic. For the coming New Year, why not embrace a little faith in happy endings – at least whilst at the theater – and escape to a world where dreams come true. 

See Slow Burn’s magnificent production of ANASTASIA: THE MUSICAL, playing through January 5, at the beautiful, every-seat-is-great Amaturo Theater of the Broward Center for the Performing Arts, 201 SW Fifth Ave., Fort Lauderdale 33312. For tickets and information about Slow Burn Theatre Company’s impressive 15th Anniversary Season, visit their website at www.slowburntheatre.org. You can also purchase tickets to individual Slow Burn shows at www.browardcenter.org, through Ticketmaster, or by visiting the Broward Center AutoNation Box Office in person Tues. – Fri. 12 pm – 5 pm or two hours before the show. Or call them at 954-462-0222, press 1, Mon. – Fri. 10 am – 4 pm.