By Larry Laneer
March 4, 2020
When you hear the musical Anastasia was inspired by a 1997 animated film, which was based on 100-year-old rumors, you may think it doesn’t sound very promising. Although it won’t raise your consciousness or blow your mind, the show is a surprisingly satisfying two-and-a-half-hour diversion.
Now at the Thelma Gaylord in the OKC Broadway touring series, the show takes some explaining. Soon after the Bolsheviks shot to death the abdicated Tsar Nicholas II along with his wife and children in 1918 rumors began circulating that one family member survived and was among the people. This set off a flurry of imposters and pretenders to the Romanovs’ supposed vast wealth.
In this show, the conmen Dmitry and Vlad scheme to find a young woman who could pass as Anastasia Romanov and present her to the Dowager Empress, guardian of the Romanov fortune, who packed off to Paris before the Russian revolution. But what if they accidently stumble upon the real Anastasia, who is now destitute and fending for herself? It could be enough of a story to make a musical.
This production features an outstanding scenic design (by Alexander Dodge) and the most effective use of projections (by Aaron Rhyne) I’ve ever seen. Until now in theater, projected backdrops usually have been inferior to those built in three dimensions. Projections typically appeared flat, fuzzy, and unconvincing. But Rhyne’s high-definition images have an extraordinary depth and clarity. The only time the projections become obtrusive and distracting is when they go into motion. Then, they can overpower the action on stage and turn the show into a movie. But most of the time, the projections are highly effective. With Donald Holder’s lighting design and Linda Cho’s costumes, the show looks elegant and elaborate. Darko Tresnjak directed the production, and he covers a lot of ground, both geographically and chronologically, and in some scenes supernaturally, with smooth efficiency.
The show’s creators, Stephen Flaherty (music) and Lynn Ahrens (lyrics) (Once on This Island, Ragtime) and playwright Terrence McNally (book), have musical and theatrical bona fides. Flaherty’s jaunty score is mainly in the style of contemporary musical theater, melodic division. But some musical numbers set in 1927 Paris are appropriately jazzy. I was struck by how much of the score is in triple meter. Peggy Hickey’s choreography closely matches the music. A 12-piece pit band accompanies the production, including (small) brass, reed, and string sections, not bad for a touring show.
But this 2017 musical really looks back to the old-fashioned book musicals of yore. It’s the story of a young person striving to overcome abject circumstances and an apparatchik villain with a glib love story or two added to hook the audience. It’s a proven formula.
The appealing Lila Coogan plays the title role, also known as Anya. She has a solid singing voice. Her Anya shows appropriate feistiness, and her Anastasia possesses authentic insecurity. The handsome Jake Levy plays Dmitry, both conniving and conflicted. Edward Staudenmayer is the roguish Vlad. He has some scenes with the fine comedic actor Alison Ewing as Countess Lily, especially “The Countess and the Common Man.”
Overall, the show is a sum of its parts, no more, no less. Whether that’s enough to spend some time with it is up to you.
|Anastasia by Lynn Ahrens (lyrics), Stephen Flaherty (music), and
Terrence McNally (book)
7:30 p.m. Wednesday-Thursday, 8:00 p.m. Friday, 2:00 p.m. and 8:00 p.m. Saturday,
1:30 p.m. and 7:00 p.m. Sunday, through March 8
Thelma Gaylord Performing Arts Theatre
201 N. Walker Ave.