The Melbourne and Australian premiere of Anastasia arrived at the city’s fittingly palatial Regent Theatre on Sunday evening sheathed in theatrical opulence, offering audiences a romantic, visually sumptuous affair that leans heavily into its Disney lineage.
Nevertheless, while the musical enchants through wonderfully integrated creative design and a raft of solid performances, a measured reluctance to engage more deeply with the darker forces underpinning its story is evident.
Set in post-revolutionary Russia and Paris, Anastasia follows Anya (Georgina Hopson), a young woman with no memory of her past who may, or may not, be the last surviving child of the Romanovs, Russia’s last imperial dynasty who ruled until 1917 – evidence has clearly cast any doubt about Anastasia’s fate aside.
Conveniently drawn into the shady intentions of conmen Dmitry (Robert Tripolino) and Vlad (Rodney Dobson) on a journey to Paris, and pursued by the conflicted Soviet officer Gleb (Joshua Robson), Anya meets the elderly Dowager Empress (Nancye Hayes), whose grieving heart holds the key to Anastasia’s identity.
Based on the 1997 20th Century Fox animated musical historical fantasy now firmly absorbed into the Disney canon, Anastasia was adapted for the stage by Terrence McNally, with music by Stephen Flaherty and lyrics by Lynn Ahrens, expanded upon from the movie. Directed by Darko Tresnjak, it opened on Broadway in 2017 and it’s this production that Australian audiences will experience.
The opening moments set an ambitious tone as the special bond between the Dowager Empress and the young Anastasia is established in the splendour of imperial surroundings. Time shifts forward with cleverly segued scenes until fire erupts outside the palace windows to signal the Bolsheviks’ victory.
But the political climate is noticeably washed over, with revolution and social upheaval largely functioning as flimsy narrative scaffolding. Even the thought that being a commoner is itself a moral failing seems to cut through, with poverty and danger aesthetically softened – dramatic tension seldom rises to the level the story demands.
The Disney-like emphasis on romance and whimsy is the show’s calling card. That said, the production’s finest moments come through its magical touches. The fleeting visions of the Romanovs, who appear and disappear throughout Anastasia’s journey, are delicately handled and visually evocative, hinting at memory, loss and inherited trauma.
Visually, Anastasia is consistently impressive. Alexander Dodge’s set design is anchored by an almost constantly present neoclassical arched, fenestrated and elegant neoclassical structure that morphs fluidly across locations, while digitally enhanced backgrounds by Aaron Rhyne help define place with painterly efficiency, particularly in the scenes set in Paris. Act 1’s train sequence, however, is the least convincing effect with its skeletal carriage skewed awkwardly against a projected rail line.
Linda Cho’s costumes are striking, characterised by a deliberate exaggeration that brightens contrast between imperial luxury and the stylised rags of the common people, while Donald Holder’s lighting design adds enticing detail.
Musically the score is melodically safe and accessible, driven by popular musical theatre conventions. Songs like Journey to the Past provide emotional lift and narrative clarity but the score ultimately feels like a mélange of similar-sounding tunes. Still, it rings out beautifully under musical director Anthony Barnhill’s keenly paced rendition and his band of 10 musicians.
What elevates the material is the strength of the performances. Hopson asserts herself strongly with Anya’s first major number, In My Dreams, a melodic and yearning song that introduces her stifled memory and emotional difficulties. Hopson radiates sincerity with vocal luminosity and clarity and, while certainly delighting in all she musters as a performer, the role falls short as a compelling central presence.
Alongside her, the principal cast delivers confident work. Tripolino’s Dmitry is immediately likeable and played with easy charm and emotional transparency, bringing warmth and comic timing. Romantic credibility, however, remains disappointingly wanting, in no small part due to the narrative’s shortcomings.
As the loyal Vlad, Dobson brings geniality and seasoned theatricality to the stage, balancing humour with affection and giving an especially entertaining performance alongside Rhonda Burchmore’s flamboyant Countess Lily as the two former lovers navigate the present.
Narratively, Countess Lily gets more attention than is needed in Act 2, which lends itself to Burchmore’s star power and vivacity, yet the emphasis on some rather banal humour becomes jarring, flattening tension rather than sharpening it.
As Gleb, Robson carries authority and restraint with a voice of molten strength, though his character’s internal struggle never quite reaches the dramatic intensity it promises.
Veteran treasure Hayes’ Dowager Empress brings dignity and gravitas to the stage, lending the role imperiousness and weight, particularly in scenes of recognition and reckoning to provide some welcome counterpoint to the story’s more sentimental impulses.
The ensemble of 14 proves energetic and cohesive while supporting the production’s scale even if vocal consistency took time to emerge on opening night. Despite their skills, Peggy Hickey’s choreography is likely to go forgotten.
In the end, Anastasia is a lavish, beautifully performed production that is an elegant but politically and emotionally cautious evening, leaving a reliance on its Disney-like magic to keep it alive but which turns out to be more graceful than gripping.
ANASTASIA
Regent Theatre, 191 Collins Street, Melbourne
Performance: Sunday 28 December 2025
Season continues to 20 February 2025
Following the Melbourne season, ANASTASIA will play the Crown Theatre Perth from 3 March 2026, the Sydney Lyric Theatre from 7 April 2026, and the Festival Theatre – Adelaide Festival Centre from August 2026. For more information, visit: www.anastasiathemusical.com.au for details.
Images: Georgina Hopson in ANASTASIA – photo by Jeff Busby | Eleanor Flynn and Nancye Hayes in ANASTASIA – photo by Jeff Busby | Robert Tripolino and Georgina Hopson in ANASTASIA – photo by Jeff Busby | Rhonda Burchmore in ANASTASIA – photo by Jeff Busby | Georgina Hopson, Rodney Dobson, Robert Tripolino and the cast of ANASTASIA – photo by Jeff Busby
Review: Paul Selar