Review by Jennifer Mustoe, Front Row Reviewers
From the drudgery and dissipation of Russia during the revolution to the beauty and privilege of Paris, Timpanogos Community Theater bring us lucky audience members of Utah to a masterpiece with Anastasia, and truly, our lives may never be the same. Director Andrew Jeffries has created a community theater a sensation wonderful enough to rival anything I’ve seen and I’ve viewed and reviewed a lot from community theater to Broadway to London‘s West End. I stand by this declaration.
Anastasia begins with the introduction of royal gown, crown, and the defeated pride of The Dowager Empress (Nicole Tupuola) with little Anastasia (Paisley Shepherd), and we feel the loss and gloom of what is coming. The ensemble, a dowdy and downtrodden group enter and with their “The Last Dance of the Romanovs” we get the whole picture. This is the theme we are presented and runs through the whole piece: down with the royals Tsar (Drew Graham), Tsarina (Katie Shepherd) Young Anastasia, and darling little Alexi (Johnathan Devey). These immoral royals are killed and then Up with the People!, who, though “free” are starving and horribly poor. An enthusiastic, wily citizen Dimitry, played with verve and precision by Tanner Tate enter with his partner in crime Vlad (William Gardner) and show us from the very start who we are going to side with. Are these two completely above board? Certainly not. Are we rooting for them from beginning to end? Absolutely.
Anastasia‘s first few scenes are carried by these two and I couldn’t keep from watching their every move. From their beautiful voices, to their commitment to character, their individual asides and physical jokes show not only their individuality but their believability and their genuine friendship. We come to love these two, applauding not just the characters they play but the actors themselves. Enter Anya (Sierra Livermore), a ragamuffin girl, confused about her past and looking for not just roubles, but answers to her distant and bleary memories. Livermore’s “In My Dreams” is an answer to the audience’s dream. Livermore has a voice that amazed me, but her mannerisms belying her downtrodden state are just as credible. We saw Anya and loved her from the start. Underneath, though, Livermore reveals her not quite “citizen” mannerisms, a nod to the Princess she may actually be.
Vlad and Dimitry cook up a plan to create Anya’s sad and scruffy state into the Princess Anastasia. As the play progresses, we find their scheme was a common thing–the idea that the Princess survived and there was money to be made by bringing the survivor to her grandmother the Duchess in Paris. But the two ne’er do wells school Anya with all she should know, and the information is daunting. However, the trio continue with this game plan, but the two scoundrel teachers begin to wonder if this is really Anastasia after all. She keeps remembering things they didn’t know about. This quandary confuses them, but gives them hope–there may be money to be made. The only real problem is that Anya continues to doubt their hopeful assertions. This is where Livermore shows her commitment to her conflicted character and I wanted to yell, “You’re Anastasia! Believe it! We do!” My plus one would have been mortified had I done that, but what is a mere audience member to do? The acting prowess of Livermore as the would be princess is heart-rending and magnificent.
Gleb (General Gleb Vaganov, a dedicated member of the Bolshevik Army) played by Dylan Bradford, is a conundrum. How can anyone who sings like that be evil? The quality of Bradford’s singing and his dedication to eradicating all things royal made me want to hate him (and of course I did?) but this actor’s voice and dedication to character is hard to overlook. Every time he came onstage, I held my breath. Keeping singing, Comrade! Sing!
Tyler Hinton as the intellectual Count Ipolitov stands centerstage and sings a mournful “Stay, I Pray You”, representing all the educated knowledge that was lost in the Revolution. He is a type and carries this role with sadness and dignity.
Livermore has numerous solos and aren’t we glad? She enthralls and sparkles, sharing with her angel-like voice and impressive acting skills Anya/Anastasia’s wary hope and sadness for what she may remember. No matter what, we want her to be a princess. And we believe she is because Livermore displays it. We believe.
Lily, played by Serene Parker, a former lover of Vlad’s, is animated and hilarious. Parker and Gardner have some of the funniest bits and I wish I could watch a whole backstory show of just them. Their romance combined with their antics are a delight. Especially in “The Countess and the Common Man.” Hysterical.
The production crew worked overtime in this musical. Director Jeffries has created a beautiful panorama that makes us hope but also makes us grieve. He has pulled everything from the script, poured it into every scene, taking us to places only a great director can. Music Director Chari Bennett‘s cast of singers overwhelm us with their perfect precision. Is this a community theater’s singers? I defy you to say it is. The music is top notch. Choreographer Stephanie Cole‘s attention to detail is second to none. The fancy Charleston number and the waltzes and the lovely movement of the principles–I could go on and on. These non-professional actor/dancers need no more encouragement. Dance out your dreams, people. And the heavenly ballet is striking against such a harsh story. Finally, Costume Designer Rebecca Fenton must have royal blood herself to fashion such alluring gowns, and must be one of the people to show the dowdy, down-trodden citizens’ garb. And those dance costumes! And those brilliant crowns!
I will leave the rest of the story for you to find out when you see this show. Because I insist you do–see the show. But the finale with the Dowager Empress is bittersweet and wonderful. The final moment of Dimitry and Anya/Anastasia made me feel like I was saying goodbye to a cast of people I would miss for some time.
I will note that after every single scene, I whispered to my plus one, “Oh wow.” I must have said that 20 times.
My takeaway from Anastasia is to never give up hope, find and be grateful who you are, and love those who are willing to walk the road of life you’re on with you.
Finally, I am going to invite you to see Anastasia. I myself am going at least one more time. Or maybe twice. I never see anything twice. But I am not going to rob myself of the mastery found on the Valentine Theater‘s stage. Go see Anastasia. You’re welcome.
Timpanogos Community Theater and Timpanogos Arts Foundation present Anastasia, book by Terrance McNally, Music by Stephen Flaherty, Lyrics by Lynn Aherns.
Valentine Theater, 839 E 9th N, American Fork, UT 84003
June 21-July 6, 2024 M, T, Th, F, S 7:30 PM Saturday June 29 matinee 2:00 PM
Tickets: $20.00
Contact: 385-787-4040, mmyers@americanforkarts.com
Timpanogos Community Theater Facebook Page
Photo credit: Jane Smith
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