Review: ANASTASIA THE MUSICAL at Arts One Presents in Springdale

Some community theatre productions are excellent. Others make you forget you're watching community theatre altogether. Anastasia the Musical, presented by Arts One Presents at the Pat Ellison Performing Arts Center in Springdale through Sunday, August 2, firmly belongs in that second category. Under the direction of Sarah Behrend-Wilcox, with Cheri Headrick serving as Music Director, Alex Fry as Assistant Director and Assistant Music Director, and choreography by Page Hoover, this production reaches a level of excellence that rivals professional touring companies. In fact, it's difficult to imagine a national tour delivering a more polished or emotionally satisfying performance.

Based on the beloved animated film while incorporating the richer historical themes of the Broadway musical, Anastasia follows the journey of a young woman searching for her identity in the aftermath of the Russian Revolution. Along the way, audiences are treated to a story filled with romance, mystery, adventure, and hope, all wrapped in one of Broadway's most beautiful contemporary scores.

Before the curtain even rose, Arts One Presents reminded the audience that this production represented far more than what would happen on stage over the next few hours. During her welcome, Board Chair Nikki Cathcart-Sievert shared that Anastasia was the work of more than 100 people, including a cast of 41 performers, a magnificent 19-piece live orchestra, an extensive production crew, dedicated volunteers, and 20 youth interns learning every aspect of theatrical production—from stage management and lighting to costumes, props, marketing, and front-of-house operations.

Cathcart-Sievert also spoke about how community theatre brings together people of all ages and backgrounds to create something none of them could accomplish alone, and that spirit was evident throughout the performance. She took time to honor the late Ed McClure, whose decades of leadership left an immeasurable mark on the Northwest Arkansas theatre community, and recognized Arts One's partnership with SLIN and the evening's American Sign Language interpreters, reinforcing the organization's commitment to making live theatre accessible to everyone. 

From the opening moments, Arts One demonstrates an impressive attention to detail. Every scene transition is seamless, allowing the story to flow naturally from one location to the next. The production moves effortlessly between imperial Russia and the bustling streets of Paris, creating an immersive theatrical experience that never loses momentum.

One ensemble number that I love is "A Rumor in St. Petersburg," and Arts One absolutely knocked it out of the park. As the citizens whisper and speculate that the lost Princess Anastasia may still be alive, the stage buzzes with excitement and anticipation. It's the perfect way to establish the world of the musical while introducing Dmitry and Vlad's ambitious scheme. The ensemble attacked the number with tremendous energy, and the staging, choreography, and layered vocals created one of the production's most exciting moments. It immediately pulled the audience into the story and set the tone for the incredible journey that followed.

At the heart of the production is Annie Kay Coates as Anya, delivering a performance that is both captivating and deeply endearing. From the moment she steps on stage, Coates possesses the kind of determined yet hopeful eyes that tell Anya's story before she even sings a note. You can't help but root for her as she searches for her past while bravely stepping into an uncertain future. Her portrayal beautifully balances vulnerability, strength, humor, and resilience, making every triumph and setback feel genuine. By the end of the musical, I was completely invested in Anya's journey—even if I couldn't help laughing at one of her final decisions. Maybe I'm just wired differently, but there is absolutely no way I would choose a charming con artist over discovering I was a royal princess with a loving grandmother waiting for me! Give me the palace, the family reunion, and the royal life. 

During intermission, I happened to meet Coates' mother, who shared that Anya has been Annie's dream role since she was a little girl. Knowing that made her performance even more special. Watching someone fulfill a lifelong dream with such passion and talent was one of the evening's greatest joys, and it was impossible not to have starry-heart eyes while watching her bring this beloved character to life.

Watching the chemistry between Annie Kay Coates, Brennan Wilkins, and Kris Isham as Anya, Dmitry, and Vlad was a lot of fun. The trio plays off one another effortlessly, creating a relationship that is both believable and endlessly entertaining. Their personalities complement each other perfectly, and you can tell they're having as much fun on stage as the audience is watching them. One of my favorite musical numbers was "Learn to Do It," where Vlad and Dmitry attempt to transform Anya into a refined young lady fit for high society. The sequence is filled with clever choreography, sharp comedic timing, and infectious energy.

Brennan Wilkins brings both charm and depth to Dmitry, allowing audiences to see the character's confidence gradually give way to genuine affection and vulnerability. Kris Isham is wonderfully charismatic as Vlad Popov, and every scene he's in is elevated by his magnetic stage presence/ He perfectly captures Vlad's lovable, larger-than-life personality.

Another relationship that stole my heart was the playful romance between Kris Isham's Vlad and Caity Church's Countess Lily. The two share effortlessly balances flirtation and genuine affection. Their interactions are charming from the moment they reunite, and watching these former lovers rediscover their spark during "The Countess and the Common Man," where Isham and Church perfectly capture the playful flirtation is sweet and completely believable. 

Caity Church is delightful as Countess Lily Malevsky-Malevitch, bringing elegance and wit to every scene. She especially shines during "Land of Yesterday," one of the musical's most enjoyable company numbers. The song serves as a spirited celebration of the Russian émigrés who have built new lives in Paris while never forgetting the traditions and culture of the homeland they left behind. Church leads the number with tremendous charisma, while the ensemble fills the stage with lively choreography and rich harmonies.

Coby Anderson gives a wonderfully nuanced performance as Gleb Vaganov, refusing to portray him as a stereotypical villain. From the beginning, you can sense the inner turmoil constantly brewing beneath the surface. Anderson allows audiences to see a man torn between his duty and his conscience while also revealing how deeply Gleb cares for Anya. That emotional conflict grows more powerful as the story unfolds, making his journey one of the musical's most compelling. The moment he cannot bring himself to pull the trigger is made all the more moving because Anderson has carefully built that internal struggle throughout the entire production.

Vickie Hilliard brings grace, heartbreak, and quiet strength to the Dowager Empress Maria Feodorovna. Her performance anchors the emotional climax of the musical, conveying years of grief with remarkable authenticity before allowing hope to slowly reenter her life. The reunion scenes are deeply moving because of the sincerity Hilliard brings to every moment.

The Creative Team's efforts were next level as well. The scenic design is another area where Arts One raises the bar. The set is absolutely amazing, creating a cinematic feel that allows the story to flow effortlessly from one location to the next. I especially loved the ever-changing digital backgrounds, which transformed the stage from the grandeur of imperial Russia to the bustling streets of Paris with remarkable beauty and realism. One of the production's coolest visual moments comes during the travel sequence, when the rotating train car gives the illusion of racing across Europe. It is both inventive and incredibly effective, earning audible reactions from the audience and further proving that this production rivals the creativity and technical quality of a professional touring company.

The lighting beautifully complements every scene, adding warmth, drama, and elegance as the story unfolds. The costume design is absolutely breathtaking and deserves its own applause. I especially loved the regal white attire worn by the Romanov family during the opening scenes. The pristine costumes immediately established the majesty and sophistication of the royal family while creating striking stage pictures. Then, in the second act, audiences are rewarded with one of the musical's most anticipated visual moments—Anya's iconic red dress. It is simply stunning. The reveal drew audible admiration from the audience and perfectly captured the elegance and glamour that have made this costume so memorable in productions of Anastasia.

One of the production's greatest strengths is its ensemble. Every performer remains fully engaged, creating believable citizens, aristocrats, refugees, and Parisians that make the world of Anastasia feel authentic and alive. Large production numbers burst with energy while quieter moments allow the emotional core of the story to shine.

Page Hoover's choreography is nothing short of spectacular, capturing both the grandeur and intimacy of the story. Every movement feels purposeful, whether it's the energetic company numbers or the quieter character moments. One of my favorite sequences is the elegant ballet scene featuring the ballerinas dancing to Swan Lake. It is absolutely breathtaking. The dancers bring classical beauty to the stage, creating a moment that feels like stepping inside a grand Russian ballet. 

As always, one of my favorite parts of any musical is hearing a live orchestra, and the musicians for Anastasia were every bit as impressive as the performers on stage. Their playing was polished, expressive, and truly professional, adding richness and emotional depth to every scene. From the sweeping overture to the show's powerful finale, the orchestra elevated the entire production and deserved every bit of the applause. If I had one small disappointment, it would be that the orchestra was tucked away in a separate room rather than positioned where the audience could enjoy watching them perform. I love seeing musicians in action, and an orchestra of this caliber deserves to be seen as well as heard.

Anastasia the Musical continues at the Pat Ellison Performing Arts Center in Springdale through Sunday, August 2. Don't miss this opportunity to experience one of the finest productions you'll see this year. For more information, visit their website at https://www.artsonepresents.org/.

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