As someone who grew up with the animated film, I walked into Anastasia The Musical at La Mirada Theatre for the Performing Arts with a certain amount of nostalgia and some expectations. The 1997 film holds a very special place in my heart, complete with Rasputin, Bartok, and all the 90s animated magic that made so many of us fall in love with the music and story. While the stage musical takes a different approach, I still found myself entertained, emotionally invested, and ultimately rooting for Anastasia every step of the way.
At the center of the production is Anastasia/Anya herself, and thankfully, she remains just as lovable on stage as she is on screen. Lena Ceja brings warmth and incredible vocal power to the role, and immediately establishes herself as the emotional heart of the show. Her first solo number assured me that this production was in good hands. By the time she reached “Journey to the Past,” I was fully invested. Even knowing where the narrative was headed, I found myself excited for the moment she would finally reunite with her grandmother and discover the truth about who she is.
The supporting cast brings plenty of charm as well. Peyton Crim’s Vlad quickly became one of my favorite characters of the night. His humor consistently lightens the mood and provides some of the show’s biggest laughs. His chemistry with Sarah Wolter’s Lily is especially enjoyable, adding a welcome dose of comedy and heart to the story.
Dmitry is another standout. Dillon Klena has some incredibly large shoes to fill considering his brother, Derek Klena, originated the role on Broadway. Yet he more than rises to the occasion. His rendition of “My Petersburg” was a highlight of the evening. Knowing the family connection only adds another layer of appreciation for what must be a uniquely challenging role to step into.
One area where I found myself less invested was the character of Gleb. This is less a criticism of Richard Bermudez’s performance and more a reflection of the material and the book itself. Bermudez brings a commanding stage presence and a fantastic voice to the role, but the character’s arc never feels as fully developed as it could be. As a result, Gleb never quite becomes the memorable antagonist that Rasputin was in the animated film. Even so, I thought Bermudez’s performance was excellent and really showed the power of his beautiful voice.
Visually, the production is stunning. Directed and choreographed by Parker Esse, the production makes excellent use of projections and video walls, closely mirroring the original Broadway staging while allowing the story to move seamlessly across space and time. And then there is the train sequence. I’m a sucker for train scenes on stage. There is something magical about a well-executed train sequence on stage. Whether it is Skimbleshanks in Cats, the iconic train in Hello, Dolly!, or now Anastasia, these scenes manage to become a showstopper for me. The choreography, timing, and optical illusion made this scene so entertaining to watch.
One aspect of the production I particularly appreciated was the way it sprinkled in subtle references to the real Romanov family. While Anastasia is ultimately a work of historical fiction, some moments quietly acknowledge the tragic history that inspired it. One example comes through a reference to jewels sewn into clothing. It may sound like a throwaway detail, but it actually reflects a grim reality. Before their execution, members of the Romanov family reportedly sewed jewelry and precious stones into their garments, believing they might escape captivity. Tragically, those hidden jewels later acted almost like armor, deflecting some of the bullets fired during their execution.
Another moment that caught my attention was the photograph sitting on the Dowager Empress’s table. There was something particularly poignant about seeing that image while hearing Suzanna Guzmán’s Dowager Empress wrestle with the possibility that Anastasia was truly gone and that hope itself had become too painful to hold onto.
Perhaps the reason the Anastasia story continues to resonate more than a century later has little to do with whether she actually survived. Modern DNA evidence has largely answered that question for us. Instead, we want to believe there was a happier ending. We want to believe that a young woman who lost everything somehow found her way home. It is a story rooted in one of humanity’s oldest and most enduring themes: the search for family, belonging, and identity. From Annie to Matilda and countless stories before them, audiences have always connected with characters searching for where they belong. Anastasia follows that same tradition. Beneath the royalty, the politics, and the historical mystery is a young woman trying to discover who she is and where she fits in the world. That journey remains just as powerful today as it was when the legend first captured the public imagination.
While I still miss certain elements of the animated film, particularly Rasputin and Bartok, I left the theatre entertained and humming the familiar songs. More importantly, I left still caring deeply about Anastasia. The reunion and resolution of the story remains a magical moment, and the journey toward discovering who she truly is still resonates. Perhaps that is the greatest compliment I can give this production. The magic of Anastasia remains intact, reminding us that some stories endure because they speak to our hope that even after loss, we can still journey home.
