Anastasia is Alive at Sceneworks Studios
by Aimee Ferenz
As a reviewer, I am often sent to theaters I never would have known existed and this weekend I found myself to be very lucky. I attended a matinee performance of Anastasia as performed by Sceneworks Studios in Paramus Nj which is a little further away from home than I usually stray (two hours north to be exact). Not knowing the area, I was confused when my GPS listed the address as “permanently closed” but I double checked the Sceneworks Studio’s website and hit the road. I arrived at Bergen County College and to the beautiful Ciccone Theater on campus, which seats somewhere in the low hundreds. The front of house staff and campus security were charming and incredibly helpful, to which I want to offer my many thanks. Anastasia follows the urban myth of the Lost Russian Princess, the missing youngest daughter of the Romanov Royal Family. Though the execution of the Royal Family is historically accurate, the existence of the Lost Princess is fabricated, first embodied in the animated movie of the same name in 1997. Anya, an orphaned young woman with amnesia, struggles to survive in communist Russia until she meets Vlad and Dimitry, two conspiring con men who are hiring a girl to pretend to be the lost princess for a monetary reward. Together, the trio travel to Paris in the hopes of meeting with the Grand Duchess and reuniting the supposed lost princess with her grandmother. They are followed to Paris by soldier Gleb, who is determined to finish his father’s task of killing every member of the Royal Family.
Right from the pre-show design, the audience is immediately captivated by a small light focused on the Grand Duchess’ music box. The production staff clearly did their research as they capture the show’s time period and location through set design (Front Row Theatricals/ Sceneworks Studios), costumes (Acxel Portillo), and wigs (Brenden DelBene). The art Deco style in the metal work throughout the set pieces and the consistent marble texturing reminds the audience not only of the 1920’s style but also of the regality of the royal family. The set transitions are absolutely pristine, to which I must commend Stage Manager, Jewel Khubani and Production Stage Manager, Michael Domenici, as well as their crew Jade Diaz, Justin Lugo, and James Coleman and the cast. It is difficult to make scene changes so quickly, but it is an art to make them beautiful. This beauty is continued in the choreography, of which Ariane Ryan (choreographer) and Lily Tian (Assistant Choreographer) are deeply successful both in ensemble choreography and in the daunting ballet feature in act 2.
Musically, the show is a masterpiece, which is no surprise under the direction of the incomparable George Croom. The attention to musical detail is so fine and precise that I am constantly catching details in the chordal structure that I have missed in other productions and the full orchestra beneath the stage filled the room with magnificent music. This dedication to the craft is of course brought to the ear by sound designer, Nick Gonzalez and Sound engineer Steven Schwartz. Though there were a few moments where I struggled to hear solo lines, I believe that it can be pinned more to the soft voices of the actors than the work of Gonzalez and Schwartz. Tickets (Andrew Hindley) and Marketing (Michelle Introna) did a lovely job spreading awareness and making tickets accessible and producers Ariela and Joseph Pizza both assist in the flow of the show. Every member of this production is led by director Katie Collins and Assistant Director Jerin Yoo, both of which manage their jobs beautifully. Theater staff includes Tracy Micli (Director of Community Affairs), Thomas O’Neill ED D (Sr. Technical Director), Eireann Ingersoll (Technical Director), Miru Kim and Graham Frye (Lighting Directors), Dimitri Makarokorn and Ray Parente (Stage Technicians), and Cody Chester (Theater Staff). I want to particularly commend lighting design and their spot light operators, all of which worked hard to keep up with the pace of the show.
To be clear, I expect talent so close to New York City, but even with that preparation, I could not have anticipated what I experienced. Every member of this cast brings a unique tenacity to the stage that continues throughout the story. Special moments of the show are plentiful, but there are some I must acknowledge. Alex Birchwale as Count Ipolitov, the featured soloist in “Stay, I Pray You”, performs a hauntingly beautiful ode to Russia and captivates the audience from the moment he begins. The Romanov Royal Family often appears as spirits and memories, depicted by Matthew Meade (Tsar Nicholas II), Sarah Grace Mastro (Tsarina Alexandra), Gianna DiTucci (Maria), Livia Rose Barrell (Tatiana), Fia Fusco (Olga), and Mackenzie Reff/Luli Mitchell (Little Anastasia). Lily Tian (Odette) masters the demanding ballet featured in Act Two as the characters attend Swan Lake, accompanied by two unnamed masculine members of the ensemble. The three girls who bring some much needed comedy to more serious moments are played by Sierra Joy, KileyRose Burke-Perez, and Victoria Meneses. Finally, I want to acknowledge the soprano who is featured several times throughout the show, but particularly in Once Upon a December. I am not sure who is singing this line, but their voice is absolutely divine. The cast is rounded out by James Suarez, Acxel Portillo, Carlos De La Cruz, Steven Cusimano (Sergei), Aidan Olmo (Count Gregory), and Kenneth Sweeney (Prince Siegfried.
To consider Ariela Pizza in the role of Anastasia, you must consider the nuance of modern performance tactics. Her quick wit and wide range of expressions are wonderful, particularly for such a complex role where much of the plot is intangible. Anastasia’s damaged memory is a monumental pillar in the story and must be depicted as clearly as possible to help the audience understand what they cannot possibly experience for themselves, otherwise, the story will crumble quickly as the audience grows confused and disinterested. While Pizza displays a very wide range of emotions, she still keeps herself caged behind a strong facade just as Anastasia requires. I found Pizza captivating in this role and was entertained by the beauty of her voice. I believe that some protective vocal decisions were made to assist in her longevity throughout the show, which I can appreciate though it occasionally took some of the bite out of her solo numbers. Pizza’s natural warmth rooted her deeply onstage with the other characters, particularly Dmitry, played by Aidan Briggs. While their chemistry is immediate, the way that it blooms throughout the performance is nothing less than perfection. The music seems to be written for Briggs’ voice while he commands the stage with his charisma and humor from his first breath. It may have been because I was sitting behind his family, but it seemed as though the entire audience was equally enamored. I am deeply impressed by this performance and can see a bright future for both Briggs and Pizza.
Another victor of the stage is Maxwell Swangel, who plays Vlad Popov. In such a serious and complicated show, there is a desperate need for humor to outweigh all of the pain which Swangel masters with a kind smile and well timed joke. From his first entrance he has the audience laughing along with him and lures them further with a fantastic baritone voice. What is truly impressive is Swangel's balance and control of the character; in serious moments he pulls back significantly as to not distract but never falls away as it can be easy to do. On the other end of the scale is the soldier, Gleb, who is brought to life by Cedric Gegel. While bringing another sensational voice, Gegel must face the difficulty of paralleling the happiness that Swangel and others bring forth. I love the moments where he tries to befriend Anastasia and offers a rare smile or a helping hand as it shows the warmth that Gleb is capable of. It is not until the final moments of the show where Gegel can finally abandon the rigidity which he does with great success. I believe that the line to walk here is extremely thin and I commend Gegel’s efforts throughout the show. Briggs, Swangel, and Gegel offer every moment of support and vibrancy that the show needs to help the audience fall in love with Pizza’s depiction of Anastasia; these four are a delight on stage together.
The Dowager Empress, performed by Norrice Raymaker, is a monumental part of the story without a ton of stage time. She is not shaken by this fact and instead takes advantage of every moment as she exhibits expertise on stage. Raymaker is a masterclass in composure with intensity, helping the audience to feel safe in her presence while also allowing us to feel the Empress’ pain after the loss of her family. She is accompanied by Countess Lily who is played by Arielle Hubbard. The relationship between the two is one of many years, which feels natural between the two actresses. Hubbard offers a playfulness to the relationship which continues into the teasing nature of her relationship with Vlad. I cannot deny that Hubbard’s voice is a fantastic addition to the show, singing classical features throughout the second act. I appreciate how difficult it is to sing like that and dance at the same time, but I sometimes felt that her concentration on the performance pulled her away from her castmates and left me longing for a deeper connection. That being said, I found her to be a delight on stage and hope to see her perform again soon.
Overall, I found this production of Anastasia to be a monumental success. There were several moments where I could not help but put down my pen and enjoy the show, needing to quickly jot down thoughts in the margins before another song began. I am sad to see such a short run of this production and hope that more audience members can catch the next one. Sceneworks Studios is creating theater too great to be missed.
