Anastasia the Musical, now playing at the Sydney Lyric Theatre, is a sweeping, glittering night of musical theatre that completely transports its audience. Having first seen the production in Stuttgart, there was something especially rewarding about experiencing it in English this time, where I could fully take in every lyric, every line of dialogue and every emotional beat of Lynn Ahrens and Stephen Flaherty’s score and book. What makes this Australian company so special is that, while it lovingly recreates the Broadway blueprint, it also brings a uniquely heartfelt honesty that gives the production its own identity.
Set against the mystery of Grand Duchess Anastasia’s possible survival, the musical follows Anya, a young woman with fractured memories, who is swept from the uncertainty of post-revolution Russia to the glamour of Paris in search of the truth about who she really is. Alongside the charming opportunists Dmitry and Vlad, what begins as a clever plan to pass her off as the lost princess slowly evolves into something far more moving: a story about belonging, grief, memory and the longing for home. Importantly, this is very much a fairytale retelling rather than a reflection of historical fact, leaning into romance, myth and theatrical magic over realism. That balance between sweeping fantasy, political unease and personal discovery gives the show its emotional pull, and this production embraces every ounce of that scale.
One word defines this staging: opulent. The set magnificently captures the grandeur of Imperial Russia and the sophistication of Paris. At the same time, the LED projections allow the world to shift seamlessly into the colder, harsher communist Russia we know from history. Every transformation feels cinematic, creating a sense of place that is rich, expansive and perfectly suited to the Sydney Lyric stage. The costumes are simply dripping in Swarovski crystals, every gown and military jacket shimmering with luxury. Everything about the visual world feels lavish, detailed and beautifully considered, making it impossible not to be swept up in its grandeur.
The score remains one of the musical’s greatest triumphs, blending the beloved songs from the animated film with the fresh, emotionally resonant additions by Ahrens and Flaherty. Under the baton of Anthony Barnhill, the ten-piece orchestra sounds astonishingly full, often creating the illusion of a company three times its size. It is sheer musical perfection, lush and sweeping, carrying the audience effortlessly from intimate ballads to soaring ensemble moments.
I love Australian casts because they always bring something uniquely grounded to the stage, and this show is no exception. There is an honesty in the acting, excellence in the dancing, and expert vocal work from every single member of the ensemble. They do far more than support the leads — they create the living, breathing world that allows the principals to truly shine.
Willa Valaris, making her professional debut as young Anastasia, is sweet yet strong, setting the emotional tone beautifully from the very beginning. Nancye Hayes brings decades of experience to the Dowager Empress, crafting a woman weathered by grief and almost stripped of hope, yet still holding onto the faintest spark of possibility. Rhonda Burchmore is a complete delight as Countess Lily, using her impeccable comic timing to bring the house down time and time again — and yes, those legs are still iconic.
Rodney Dobson is a wonderfully grounded constant as Vlad, while Robert Tripolino’s Dmitry is the perfect love interest: headstrong, goofy and deeply lovable. I especially loved that this modern musical celebrates a more classic vocal sound, and Josh Robson and Georgina Hopson bring their voices in absolute spades. Honestly, I would pay to hear either of them sing the alphabet. Josh’s Gleb is strong yet gentle, while Georgina is the perfect Anya, bringing such honesty and earnestness to the role that her journey feels deeply personal.
This is lavish musical theatre at its finest: rich, romantic and gloriously performed. A production that feels every bit as dazzling as the legend at its centre.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins.
Anastasia the Musical runs for 2 hours and 25 minutes (with a 20-minute interval) and plays at Sydney Lyric Theatre through 18 July 2026. Tickets are available through Ticketmaster.
Disclosure: The Plus Ones were guests of IP Publicity
Image credit: Jeff Busby
