Running since March 2017 From the twilight of the Russian Empire to the euphoria of Paris, a new romantic musical about a brave young woman attempting to discover the mystery of her past.
The Broadway production of Anastasia closed March 31, 2019. For current Broadway show listings and tickets, please click here.
From the producers: Inspired by the beloved films, the romantic and adventure-filled new musical "Anastasia" transports us from the twilight of the Russian Empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past. Pursued by a ruthless Soviet officer determined to silence her, Anya enlists the aid of a dashing conman and a lovable ex-aristocrat. Together, they embark on an epic adventure to help her find home, love, and family.
Composer Stephen Flaherty and lyricist Lynn Ahrens pen the score, with original songs filling out the tunes they originally wrote for the animated film, with Terrence McNally on board to write the book. The new musical comes to Broadway following a tryout run in Connecticut in 2016.
The production features Christy Altomare, Derek Klena, John Bolton, Vicki Lewis, Max von Essen and Mary Beth Peil. Tony Award winner Darko Tresnjak ("A Gentleman’s Guide to Love & Murder") directs.
The show, despite being filled with some very good songs and performances, suffers from its own identity crisis. It's got a split personality and is torn between whether it's serious drama or frothy musical comedy. [The] score is a tuneful mix of mostly new numbers, plus a few holdovers from the film. Tresnjak's staging boasts momentum and atmosphere...but a consistent mood eludes the director. While the show's tone is muddy, Altomare has a bright, clear voice and shines in the lead role.
Fidget-inducing...the show's relatively one-note tone...the costumes and screen-based sets that transport the audience are the true standouts of this show. Fans of the film will find some joy in the score. Flaherty and Ahrens wrote an abundance of new tracks...The mix feels cohesive, though nothing trumps their original [songs]. Director Tresnjak caters to his young audience with a healthy - perhaps too healthy - dose of superfluous ensemble sequences.