★★★★☆
In Anastasia, fairytale meets revolution. Political violence, loss and erased identity give way to sweeping melodies and glittering gowns. And yet, there are still moments where the cracks of history show through the sparkle.
Anastasia premiered in 2017 on Broadway, adapted from the beloved 1997 animated film. It was inspired by the enduring myth of Grand Duchess Anastasia Romanov having survived her family’s assassination.
The stage adaptation leans more into the grounded aspects of the story than the supernatural, swapping out Rasputin as the antagonist for a soldier named Gleb.
The musical became a global success, celebrated for its lush score and cinematic staging, and this Australian production continues that legacy.
We follow Anya, a young woman with no memory of her past, who may or may not be the lost Romanov princess. Teaming up with conmen Dmitry and Vlad, she journeys from post-revolutionary Russia to Paris in search of identity and belonging.
Under the direction of Darko Tresnjak, there is a cinematic fluidity to the staging that sweeps the audience across continents and emotional landscapes. This is supported by the musical direction of Anthony Barnhill and the choreography of Peggy Hickey, which blends classical form with theatrical flair.
Georgina Hopson as Anya delivers a performance that balances steel and vulnerability. Her voice soars particularly in the iconic Journey to the Past, grounding the spectacle in heartfelt emotion.
Robert Tripolino brings undeniable charm to Dmitry, while Rodney Dobson offers genuine warmth as Vlad. Rhonda Burchmore as Countess Lily injects effervescence into the Paris sequences. Theatre legend Nancye Hayes lends grandiose gravitas as the Dowager Empress.
Joshua Robson’s Gleb is a compelling counterpoint. Haunted, conflicted, and quietly tragic, he embodies the moral tensions of a man caught between duty and conscience. His solo Still, in combination with Hopson’s Journey to the Past, concludes Act One in style, leaving the audience eagerly waiting for the interval to end so they can find out what happens next.
A special mention must go to Sophia Bae. Her appearance as Odette in the Swan Lake ballet sequence is a moment of visual and physical poetry.
Alexander Dodge’s set allows for seamless transitions across time and place, while Linda Cho’s costumes deliver a parade of opulence that never feels excessive.
Lighting by Donald Holder visualises memory as both a wound and a compass. As the ghosts of her family interact with Anya, they are trapped in muted blue and pink tones, whereas she is lit in a warm orange, differentiating her from her surroundings.
The real history – the fall of the Romanovs, the violence of revolution – lingers at the edges, reminding us that this fairytale is built on very real loss. This maturity gives the stage musical more weight than the animated film.
And yet, I was left wanting more. Anastasia is no Hamilton, and it’s not trying to be. It uses history as a jumping-off point, and then fantasy takes over. There’s no doubt it offers an evening of theatrical splendour with a strong emotional core, even if its impact may fade with time.
Ultimately, Anastasia is a sweeping journey of memory, identity and hope. It may not reinvent the musical theatre form, but it offers us a reminder that stories have the power to transform history into something magical.
Anastasia the musical runs to 18 July at the Sydney Lyric Theatre as part of a national tour. It then heads to Adelaide and Brisbane. See full dates below.
Tickets: https://anastasiathemusical.com.au/tickets/sydney/
Website: https://anastasiathemusical.com.au/
Socials: https://www.instagram.com/anastasiathemusicalau/
Photo credits: Jeff Busby
2026 Australian Tour Dates:
Sydney 7 April – 18 July, Lyric Theatre
Adelaide 2 – 23 August, Festival Theatre
Brisbane 16 September – 4 October, Lyric Theatre QPAC
