Manhattan Concert Productions: ANASTASIA
Photo Credit: Manhattan Concert Productions
On February 17, 2025, Manhattan Concert Productions took to the new David Geffen Hall for a one-night only concert of Terrence McNally and Stephen Flaherty's musical 'Anastasia.'
With a run of more than 800 performances over its two years on Broadway, the musical adapts the Don Bluth film with new songs and a reworked plot, while retaining its identity as an enchanting tale of self re-discovery. This concert adaptation had much to thrill Monday's audience thanks to a number of exciting touches.
Photo Credit: Manhattan Concert Productions
Reprising her role as the missing grand duchess, Christy Altomare delighted through her sense of wonder and vocal charm. The arc of her character was navigated well as the initially-fearful woman came into her own, with each of her relations with the cast having a different tone as she tried to solve the mystery of her identity. Her opening number, “In My Dreams,” rose from the timid cadences of its verse to become a soaring, resolute prayer as she sets off on her journey. It was truly a treat to hear Altomare perform songs such as “Once Upon a December,” and her rendition of “Journey to the Past” was nothing short of magical as she closed out Act one with tremendous faith and fervor in her voice.
Photo Credit: Manhattan Concert Productions
Taking on the role of Dmitry was Alex Joseph Grayson, displaying a youthful energy which carried with aplomb over the bounce of his opening ensemble number. This, coupled with his exuberant high notes, gave him just what he needed to nearly bring down the house for “My Petersburg” as the phrases of sights and schemes raced to dizzying heights. These qualities took on a mature nuance as Dmitry realized the full situation and his own feelings, culminating in his duet with Altomare “In a Crowd of Thousands.” Grayson made the most of his later interactions with the Dowager Empress as he struggled between ceremony and doing what was right with great pathos, setting the stage for Anya to finally be reunited with her family.
In the role of Vlad Popov, John Bolton was a sensation as the seasoned conman, guiding Dimitri and Anya while providing no shortage of comedic charisma. While it was often satisfying to watch him serve as the bond between the quarreling young adults, his time during number such as 'Paris Hold the Key to Your Heart' or 'The Countess and the Common Man' were near-showstoppers, the former for its utter exuberance and the latter for its sweltering, lusty charge with Rachel York's Countess Lily as the two played off each other to steamy heights. His experience with the role aside, Bolton embodies it with such joy that makes it feel so fresh and enjoyable to watch.
Photo Credit: Manhattan Concert Productions
In the role of Officer Gleb, Jordan Donica gripped the audience's full attention as he grappled with his inner turmoil of passion and duty. From his rich, declamatory lines to open 'A Rumor in St. Petersburg,' and the haunting tension of 'The Neva Flows,' his following appearances displayed greater nuance and desperation as his hunt for the royal claimant led him to Paris. These feelings built wonderfully until they finally boiled over during his confrontation with Anya in Act two, and it was stunning to hear Donica’s anguished lines soar over the dense choral texture as Gleb’s sense of control crumbled away. While also among the newcomers to the cast, Donica’s interpretation ranged from stoic to princely, and had a wealth of tones for his commanding baritone to shade with, resulting in a splendid take on the conflicted officer.
As the Dowager Empress, Mary Beth Peil’s affection and warmth with the child Anastasia in the opening scene translated beautifully to grief when she reappeared during Act two, and lent oceans of depth to the difficulty she gave to those around her whilst caught in her own heartache. These qualities were on full display for her rendition of “Close the Door,” making her reunion scene with Altomare a tense but ultimately touching exchange as her guard melted away. Supporting her as the Countess Lily, Rachel York was a sultry firecracker who proved a fitting match for the antics of Bolton’s Vlad. Her own ensemble number, “Land of Yesterday,” was a slick, jazzy celebration of the past that soon erupted into rueful jubilance.
Photo Credit: Manhattan Concert Productions
The ensemble cast featured a number of noteworthy actors, bolstering the principals or leading the numbers themselves. One powerful example of this was Nicholas Ward, initially portraying Anya's father during her flashbacks, then later taking on the role of the aged Count Ipolitov, where his bass held an arresting gravity for his rendition of 'Stay, I Pray You.' This performance also boasted a 400-person chorus comprised from groups of singers from across the country. Their presence created an impressive choral texture through the numbers, from the roar of the people during 'A Rumor in St. Petersburg,' or the ghostly whispers which drop to silence during 'The Neva Flows.'
Photo Credit: Manhattan Concert Productions
While this was a concert staging, the actors were far from idle, as the two-tier staging often bustled with action, from charged entrances to brief combat and even dances, the stage of the Wu Tsai Theater was utilized to full extent. A particular highlight came in the special appearance by dancers from New York City Ballet, lending their talents during the 'Quartet at the Ballet.' Principal dancer Tiler Peck was joined by Roman Mejia and Chun Wai Chen as Odette, Siegfried, and Von Rothbart from 'Swan Lake,' taking the number to elegant heights as the two men seemed to contest for the Swan Princess through a series of graceful lifts and promenades, and capping off with Peck's refined fouettés delivered with bravura as the singers built to a tightly-executed close.
In all, Monday’s performance was a blast from the not-too-distant past as the artists and orchestra showcased what makes this musical so enchanting. Song, drama, and dance were put on full display before a packed house and to splendid reception, with Manhattan Concert Productions presenting one of the most vibrant and engaging concert stagings I’ve experienced. The company is set to continue their Broadway Series in 2026, with Tony Yazbeck and Paul Gordon’s musical “Jane Eyre.”
Photo Credit: Manhattan Concert Productions
-written by Logan Martell.