BWW Q&A: Kenny Ingram on ANASTASIA: THE MUSICAL at Maine State Music Theatre

As Maine State Music Theatre opens its 2025 season with the sweeping Broadway musical Anastasia, audiences are invited on a journey from the twilight of Imperial Russia to the lights of 1920s Paris - a tale filled with hope, faith, and the search for identity. At the helm is director and choreographer Kenny Ingram, returning to MSMT after acclaimed productions of Funny Girl and 9 to 5, The Musical.

In his director’s notes, Ingram reflects on the heart of the story: “Each of us holds a sense of faith and hope, and the musical Anastasia elegantly explores this ability to believe in the improbable. Add love to the mix, and the tale is complete.”

Based on the beloved 1997 animated film, Anastasia follows Anya, the youngest daughter of Tsar Nicholas II, as she struggles to reclaim her past in the aftermath of the Romanov family’s downfall. With unforgettable music and lyrics by Lynn Ahrens and Stephen Flaherty, a script by Terrence McNally, and period-perfect costumes by Jeff Hendry, the show promises to transport theatergoers to another era.

As MSMT and the Fulton Theatre bring this romantic epic to the Pickard Theater stage, we spoke with Kenny Ingram about his vision for the production, the enduring appeal of Anastasia, and what he hopes audiences will take away from this grand adventure.

What drew you to the story of Anastasia for a musical adaptation?

I was immediately drawn to Anastasia because the story is so rich and layered—full of heart, mystery, and imagination. Plus, I’m a huge fan of Lynn Ahrens and Stephen Flaherty. I was honored to be part of the original Chicago company of Ragtime, which they also wrote, so their music holds a special place in my heart. The period this story is set in was another big draw for me—the elegance of that era, especially the costumes, tells a story all its own.

How did you approach the choreography for "Anastasia: The Musical"?

My approach was all about storytelling through movement. There is a certain stylized movement that goes hand in hand with Anastasia. The show spans such a dynamic range of worlds and styles—from ballroom elegance to the raw energy of post-revolution Russia, from lively Parisian Charleston to traditional Russian dance and even Swan Lake ballet. Each moment required its own movement vocabulary. I’m also incredibly grateful to my associate, Christopher Page-Sanders, whose expertise in both ballet and ballroom has been vital in capturing the authenticity and grace of these styles. I am grateful for Chris.

Can you share any challenges you encountered while directing and choreographing "Anastasia: The Musical"?

The challenge is always making sure the storytelling remains crystal clear and emotionally resonant. MSMT audiences are very smart—they’re paying attention. I knew I wanted the production to move with cinematic momentum, like a film unfolding on stage. That was the biggest challenge.

How do you feel about returning to Maine State Music Theatre and what makes this venue special?

MSMT is truly one of my favorite places to work. Curt Dale Clark and the entire team provide so much support that it feels like a creative home. Plus, the pace here forces you to make bold decisions quickly, which keeps things fresh and exciting. I like that!

How have you worked to bring the historical elements of Anastasia to life on stage?

I think we’ve struck that balance beautifully. You’ll absolutely be entertained—there’s no shortage of spectacle! Jeff Hendry’s stunning costumes add such sparkle and authenticity, and the cast, under the musical direction of the brilliant Kevin Stites, the best Music Director I have ever worked with. Kevin and I go way back—our first professional show together was A Chorus Line in 1985—so reuniting on this production has been a blessing.

How have you approached the balance between creating an entertaining spectacle and staying true to the historical context of Anastasia?

I have been focused on what will be a NEW way to see and hear the show. For example, I’ve incorporated small bits of the Russian language into a few musical passages. They are very small, but those two little moments keep us historically connected.

What do you hope audiences will take away from Anastasia?