Review: ANASTASIA - THE MUSICAL Enchants at La Mirada Theatre

I'll say this now: this Summer's most beguiling, most enchanting theatrical surprise is perhaps the brand new, gorgeously opulent regional production of ANASTASIA - THE MUSICAL, now on stage at the La Mirada Theatre for the Performing Arts through June 20, 2026.

A visual stunner punctuated by remarkable musicality and an impressive acting ensemble, this epically-staged, winningly triumphant local iteration—helmed by director and choreographer Parker Esse—is, dare I say, more Broadway than Broadway, from its thrilling technical aspects and grandiose (yet still grounded) storytelling to its superb, talent-bursting cast led by a fierce star turn by Lena Ceja in the title role (her La Mirada debut) that audiences will remember for a long time. 

I contend that this new La Mirada production is a delightful surprise only because the last time I saw this musical on stage, it was its Broadway national tour back in the Fall of 2019, which was, for the most part, an acceptably fine show, though not quite exceptionally memorable (you can read my review of that production HERE). 

By contrast, seeing this exquisite, engagingly paced new production almost erases that previously okay experience, as if I'm seeing the show for the very first time and in its most flattering phase of existence. 

The stage musical, of course, has some noteworthy roots. 

A 2017 Broadway stage adaptation inspired by the popular 1997 Fox Animation Studios musical film, this "live-action" iteration has been reimagined with a more historically-grounded sensibility that discards the film's more magical elements in favor of highlighting one of history's most intriguing mysteries.

Here, the narrative eschews that creepy, supernatural, magic-wielding zombie villain Rasputin (and his talking, joke-spewing bat minion Bartok) and, instead, leans in more towards a story that tries to uncover the clues behind a longstanding rumor-myth that circulated for decades inside post-Soviet Revolution Russia, following the slaying of the entire Romanov Royal Family in July of 1918.

That rumor, of course, was that there was a possible lone survivor that managed to escape that mass-assignation that took the lives of Imperial Russian Tzar Nicholas II and his entire family by the Bolsheviks, the very movement that sparked the pro-Socialist revolution.

This understandable narrative pivot also spills over to the very vibe of the show, which now more deeply explores the dire ramifications of that mass-assassination on the country and its citizenry, who have since been under strict Bolshevik control, and where travel papers are as monumentally important as food and shelter are to one's survival.

As expected, many of the familiar songs from the animated film—with music by Stephen Flaherty and lyrics by Lynn Ahrens, the same team behind the music of RAGTIME—have been migrated over to the stage show alongside many new songs that expand its scope, all enveloped by a new book written by celebrated playwright Terrence McNally (who also wrote the book for RAGTIME).

It can be argued that the musical's greatest strength lies in its ability to blend spectacle with genuine emotional stakes. McNally's book wisely shifts the narrative away from the film's fantasy aspects and instead grounds the story within the documented political and social upheaval surrounding the Russian Revolution—a not-so-subtle sign that this is not your younger self's Princess cartoon movie anymore. 

This inevitable creative decision certainly gives the musical a richer dramatic foundation, allowing audiences to connect more deeply with the characters' personal struggles without any pesky magical wizards and smart-alecky talking animals getting in the way. Here ANASTASIA now feels less like a Disney-esque magical princess fantasy and more like a poignant—and relatable—coming-of-age journey, albeit still with a tiara or two in the mix.

The resulting show, honestly, initially felt well-intentioned but mostly uneven on the surface, as if the stage iteration—like its title character—was still suffering an identity crisis. 

Cut to June 2026 and the stage of La Mirada Theatre—presenting a production by McCoy Rigby Entertainment—and somehow, miraculously, the bones of that Broadway stage musical has been reconfigured to look and feel like a newly rediscovered lush epic on an even grander scale that is also bathed in an emotionally grounded, intimately human sensibility. From its glorious start to its hopeful, even tear-inducing ending, this production has turned a previously dismissible show into a must-see musical spectacular.

Able to balance sweeping romance, historical intrigue, and emotional intimacy with elegance and showmanship, this winning new production of ANASTASIA - THE MUSICAL effortlessly retains much of the heart, earnestness, and melodic familiarity that made the animated film a cherished favorite. And with this stage adaptation broadening its scope considerably, the more fairy-tale/supernatural-leaning original adventure can now be separately enjoyed here as a more mature meditation on identity, love, loss, resiliency, and finding one's true home.

Like the animated film, the stage iteration also follows a young woman named Anya (played with palpable gusto by the radiant Ceja), a spunky, self-reliant orphan suffering with fragmented memories of her past. A self-protective survivor by nature, her instincts encourage her to embark on a journey to find the truth of her real identity. 

That journey takes her from bleak post-revolutionary St. Petersburg, Russia all the way to the glittering allure of 1920's Paris, France, where the musical traces Anya's path from troubled uncertainty to hopeful self-discovery. 

This leads to an encounter with two opportunistic con men: handsome and street-smart Dmitry Dunya (played charmingly by Dillon Klena) and former Imperial Court member Vlad Popov (the very funny Peyton Crim), whom she initially seeks out to acquire some forged (but convincing) travel documents.

It just so happens, however, that the men are searching—actually, "auditioning"—for a woman they can train and pass off as the long-lost Grand Duchess Anastasia Romanov to the family's only living relative, the understandably skeptical and disheartened Dowager Empress Marie Feodorovna (the regal Suzanna Guzmán), Anastasia's grandmother.

As Anya joins Dmitry and Vlad’s scheme, unexpected truths begin to surface. 

Along the way, she, of course, develops a deep emotional connection with Dmitry while unknowingly attracting the attention of determined Soviet officer Gleb Vaganov (the superbly menacing Richard Bermudez), whose own family's history is intertwined with the fall of the Romanovs, and is, thus, hell bent on her capture, just in case she really does turn out to be a surviving member of that lineage. 

The character of Gleb is the stage adaptation's most significant addition to the story: essentially a reality-based, non-magical substitute for the evil wizard Rasputin in the film. While, admittedly, I found the character a bit of an intrusion in the national tour production I first saw in 2019, here the character feels much more complex and intriguing, thanks in no small part to Bermudez's outstanding, shudder-inducing performance. Rather than being just another conventional villain, the production offers him up as a truly conflicted antagonist whose loyalties are shaped by history, duty, and inherited trauma. His presence here introduces moral complexities that enrich the narrative much more than in the touring iteration, reminding audiences that history is rarely divided into heroes and villains as neatly as fairy tales suggest.

Once in Paris, the trio seeks to convince the Dowager Empress that Anya is indeed her missing granddaughter, with the aid of the Dowager Empress' loyal lady-in-waiting, Countess Lily (hilarious scene-stealer Sarah Wolter), who, by the way, apparently has a secret night life tearing up the dance floors of Paris. 

As memories slowly return and long-buried wounds are confronted, Anya must ultimately decide whether her future will be defined by the mystery of her past or by the life she chooses for herself.

An absolutely lavish, stunning production filled with visual and sonic wows, La Mirada's production of ANASTASIA is as thoughtful and empowering as it is just incredible, heartfelt entertainment. 

Flaherty and Ahrens' score sounds wonderfully lush coming from the orchestra under the baton of musical director Ryan O'Connell, which beautifully bridges the familiar and the new. Fan-favorite songs such as "Journey to the Past" and "Once Upon a December" retain their emotional gravitas while integrating seamlessly alongside newly crafted material that expands character development and thematic depth. The music consistently captures the show's sense of longing and possibility, often elevating scenes from simple narrative progression into moments of genuine emotional revelation. I don't know about you, but even the next day, I was still humming the melody of "Journey to the Past."

Visually, the production is often a breathtaking theatrical experience. Its fluid transitions between Russia and Paris—frequently enhanced through projections designed by Aaron Rhyne and cinematic-inspired staging techniques enacted by director Esse—create an expansive and lyrical sense of movement and adventure. Esse, also tasked with choreography, provides the show with plenty of dazzling dance sequences that add to the overall grandeur.

The production's sublime design elements—particularly Andrew Hammer's sets and Ricky Laurie's gorgeous period costumes—work in concert to evoke both the splendor of a vanished Imperial world and the vibrant energy of a rapidly changing Europe. These visual flourishes never feel merely decorative, but, rather, they reinforce the story's recurring themes of memory, transformation, and the passage of time. That train sequence alone is an enchanting hybrid of theater and technology that gives the show its luxe epic qualities.

But, of course, at the endearing core of ANASTASIA - THE MUSICAL is the story of Anya herself, who in this excellent production proves herself to be one of the more compelling modern musical heroines. Unlike many of her protagonist peers whose destinies are determined by external forces, Anya's journey—so beautifully and genuinely portrayed by Ceja—is fundamentally about self-definition. Her search for answers becomes a universal exploration of belonging, memory, and the human desire to understand where one comes from. Even when the plot veers into romantic or historical territory, the emotional core remains firmly anchored in Anya's relatable quest for connection and identity. 

Ceja evokes that longing just on her face alone. And, dang, she then starts singing her heart out on top of that.

Armed with endearing pluckiness and palpably heartfelt expressions, Ceja's excellent performance elevates everything around her, creating a groundswell of enjoyable theatricality that, frankly, touches every aspect of the show. Her touching "I Want" song "In My Dreams" gives but a taste of her impressive abilities as both a singer and an actress. 

By the time she reaches the final song of the first act, "Journey to the Past," she has truly won the audience over—so much so that we are convinced she really is the missing Romanov Princess. With every appearance, Ceja mesmerizes with her facial expressions and inspired acting choices and, yes, her vocal prowess. She is a sparkling revelation in this show, which was only merely hinted at during her performance as Mimi in Chance Theater's superb intimate production of RENT a few years ago.

And speaking of Chance Theater, I also first discovered Klena in a small role in an intimate production of PARADE at that same OC theater. It has been truly great watching (and hearing) his impressive evolution and maturation as a musical theater performer and, now, as a confident leading man (I last saw him belt crazy high notes in Musical Theatre West's production of NEWSIES a few years ago, too). Even more impressive is that Klena is able to create his own notable version of Dmitry, a role that his own older brother Derek originated on Broadway. And Klena's chemistry with both Ceja and his cohort Crim are quite fun to watch. 

But also quite enjoyable: the comedic duo of Crim and Wolter, who, arguably, deserve their own spin-off musical (or, at the very least, their own web series, in character, natch).

Overall, La Mirada's impressive presentation of this musical adaptation makes a compelling case to only stage the show their way, because what they've fashioned together for this production is truly magical (even without the magical elements from the film). 

What makes ANASTASIA - THE MUSICAL resonate most deeply now—and especially in this beautiful production—is its emotional maturity. As someone who grew up loving the original animated film, it is only fitting to want to see a "grown-up," more sophisticated take on the same musical, particularly since the original already had such grown-up themes at its heart, scored by none other than Flaherty and Ahrens, and written by McNally—folks who know a thing or two about history-tinged epics. 

Beneath the lavish costumes, opulent visuals, romantic melodies, and historical intrigue lies a surprisingly poignant reflection on the meaning of family—both real and found. The musical suggests that identity is not solely determined by bloodlines or royal titles but by the connections we forge and by the choices we make. In doing so, the show transcends its fairy-tale origins and becomes something far more affecting and deeply meaningful.

Like its heroine, ANASTASIA - THE MUSICAL ultimately finds its greatest strength not in confirming a legend, but in embracing the exciting uncertainty of the journey itself. Esse and company have created a lush, heartfelt, Broadway-caliber musical production that combines theatrical spectacle with genuine emotional substance—a stirring reminder that sometimes the search for who we are can be the most extraordinary adventure of all.

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Photos by Jason Niedle / TETHOS, courtesy of La Mirada Theatre for the Performing Arts.

Performances of the McCoy Rigby Entertainment production of ANASTASIA - THE MUSICAL at The La Mirada Theatre for the Performing Arts continue through Sunday, June 28, 2026. The theater is located at 14900 La Mirada Boulevard in the city of La Mirada, CA. Parking is Free. For tickets, visit LaMiradaTheatre.com or call (562) 944-9801 or (714) 994-6310.

More on La Mirada Theatre for the Performing Arts

Upcoming Shows

2025/2026 Season of Shows

9/19 - 6/28/2026

ANASTASIA

6/5 - 6/28/2026

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