Festival Theatre. 5 Aug 2026

 

What a joy to see Nancye Hayes sublime in an octogenarian prime. Can one pin her up any higher?

 

Anastasia the Broadway Musical is a big, big show with a tricky load of costume changes, not to mention some demanding songs for the old Dowager Empress. Not only does Nancye deliver it all with the creamy professionalism that has been the hallmark of her epic career, but in her beautiful embodiment of character she brought this hardened old critic to tears in one of the most tender and emotional scenes in musical theatre. Quite a feat.

And in a show that boasts a motherlode of stunning costumes, she parades period glamour with stately grace.

Standing ovation to Nancye Hayes AM.

 

And to the show itself.

 

I’ve been narky about a lot of standing ovations in recent years, feeling that a new generation of audiences can be more full of enthusiasm than theatrical discernment. Old school was ever sparing with the stand.

 

In this case, however, John Frost and his collaborators have delivered a big-deal, big show. The production values are cutting edge. There is aesthetic finesse all over the place.

 

Anastasia’s sets and vivid video rendering truly are a sight for sore eyes: huge palatial scenes, sets of cold bureaucracy, blossoming beauty, vast cityscapes and, oh my, the train ride to end them all.

 

The lighting is no mean feat either, with ghostly reiterations of the Romanovs’ lost world of Imperial Russia played out against lively Parisian decadence. And the orchestra is just so, sound-balanced impeccably against the vocals.

 

Then there’s the cast. Georgina Hopson brings acting skills as well as voice to the starring role of Anya, paired sweetly with the delightful Robert Tripolino as Dmitry, her evolving love interest. Rodney Dobson plays such an artful and endearing Vlad that, at times, he threatens to steal the show. Joshua Robson has one of the best voices on the stage and is the evil comrade to a tee. Then there is Rhonda Burchmore. She’s fearless and loud and funny, and proves yet again why she is so beloved by Australian audiences.

 

The direction is schmick. The chorus work is excellent.

 

There is not much to criticise, unless it be the sheer corn of the storyline. Lost princess finds her roots. You may take that two ways.

 

Samela Harris

 

When: 5 to 30 Aug

Where: Festival Theatre

Bookings: adelaidefestivalcentre.com.au