Review: Anastasia the musical at Adelaide Festival Theatre

“A breathtaking theatrical journey filled with romance, wonder and pure musical magic. Anastasia is musical theatre at its most spectacular.”

“A dazzling production that sweeps you from Imperial Russia to the streets of Paris and leaves your heart soaring.”

Anastasia does something rare, it immerses you in a world so rich, romantic and captivating that, for nearly two and a half hours, reality fades away.

Opening night at Adelaide’s Festival Theatre was magical. From the haunting beginning to the triumphant finale, this stunning Australian production reminds us why live theatre moves audiences in ways no other art form can.

Directed with elegance by Darko Tresnjak, Anastasia unfolds with cinematic beauty. Each scene flows effortlessly into the next, balancing the grand scale of Imperial Russia and Paris with intimate moments of humour, heartbreak and hope. Associate Director Sarah Hartmann preserves this vision with remarkable care, ensuring every moment feels sincere and every transition is seamless.

One highlight of the evening comes from 11-year-old Audrey Burnett as Little Anastasia. Possessing extraordinary poise and stage presence for her age, Burnett delivers a deeply sincere performance that immediately connects the audience with the young Grand Duchess. Her innocence and authenticity make the tragedy that follows even more devastating, creating a powerful foundation that resonates throughout the show.

Visually, this production is breathtaking.

Alexander Dodge’s extraordinary set design transforms constantly, taking audiences from the luxury of the Romanov Palace to bustling train stations, windswept landscapes and the glamour of 1920s Paris. Combined with Linda Cho’s exquisite costumes, each one more elegant than the last, and Donald Holder’s atmospheric lighting, every scene feels like a moving painting. It is theatre on an epic scale, yet it never loses its intimacy.

Under the musical direction of David Piper, Stephen Flaherty’s lush score is given room to shine. The orchestra supports every performer wonderfully, allowing beloved songs including Journey to the Past, Once Upon a December, My Petersburg, In My Dreams and the deeply moving In a Crowd of Thousands to leave a profound impact.

Leading the cast is the magnificent Georgina Hopson as Anya.

Hopson delivers a performance that places her among Australia’s finest leading ladies of musical theatre. She captures Anya’s vulnerability, strength and quiet determination with genuine authenticity, making every step of her journey believable. Vocally, she is stunning. Her rendition of Journey to the Past is one of those unforgettable theatre experiences that reminds us why the song has become beloved by audiences around the world. It is heartfelt, soaring and truly memorable.

Opposite her, Robert Tripolino is effortlessly charming as Dmitry. He brings warmth to every scene with his wit, sincerity and effortless charisma. His rendition of My Petersburg brought the house down, and his chemistry with Hopson feels natural, allowing their relationship to develop organically throughout the evening. Together, they shine during In a Crowd of Thousands, creating one of the production’s most tender and rewarding scenes.

Rather than a typical villain, Joshua Robson portrays Gleb as a man torn between duty and compassion. His restrained, nuanced performance makes Gleb fascinating to watch, and his powerful rendition of Still becomes one of the evening’s most compelling highlights.

Comedy is in safe hands with Rodney Dobson, whose Vlad is full of charm, impeccable timing and heart. Every entrance brings fresh energy, and his scenes consistently delight the audience.

The incomparable Rhonda Burchmore commands attention whenever she is on stage as Countess Lily. Glamorous, witty and larger than life, she delivers sparkling comic moments while reminding audiences why she remains one of Australia’s most beloved performers. Her effortless charisma lights up the stage, especially during Land of Yesterday, where she is simply irresistible.

Meanwhile, theatre royalty Nancye Hayes brings extraordinary grace and quiet depth to the Dowager Empress. Every scene she shares with Hopson carries genuine tenderness, culminating in a reunion that is profoundly moving. Hayes conveys so much through the smallest gestures and glances, creating one of the show’s most moving anchors.

The ensemble deserves high praise.

Their dancing is sharp and precise, moving with remarkable elegance throughout every production number. The stunning ballet sequence is a standout, adding a dreamlike quality that perfectly captures the nostalgia woven throughout the story. Equally impressive are the company’s rich vocal harmonies, filling the Festival Theatre with a full-bodied sound that elevates every ensemble number. Whether moving across the stage in elaborate choreography or delivering soaring choral moments, this ensemble performs with exceptional discipline, energy and spirit.

The choreography by Peggy Hickey is sophisticated, joyful and inventive, skilfully combining classical elegance with dynamic musical storytelling. It is held together beautifully by Resident Choreographer Nathan Pinnell, whose meticulous attention to detail is evident in every synchronised movement across the company.

Yet for all its spectacular production values, Anastasia succeeds because of its heart.

This is ultimately a story about identity, family, memory and hope. It is about finding where you belong, even when the path is difficult. It reminds us that home is not always a place, it can also be the people who believe in us.

Elegant, romantic, emotionally rich and visually stunning, Anastasia is musical theatre at its finest.

This is a theatrical experience Adelaide audiences will treasure long after the final curtain falls.

5 stars

Lia Loves.