Theater review: ‘The Little Foxes’ at The Classic Theatre

After a sold-out opening weekend, ‘The Little Foxes’ continues this weekend at The Classic Theatre of San Antonio and will run through Sunday May 26. Showtimes are Friday and Saturday at 8p.m. and Sunday at 3p.m. Tickets are $33 for general admission, $29 for senior, military, educator or SATCO, and $18 for student and are available online or at the box office by calling (210) 589-8450. This classic drama is written by Lillian Hellman and directed by Melissa Utley and focuses on one family’s struggle for control of a family business.

‘The Little Foxes’ is a 1939 play set in a small Alabama town in 1900 and centers around Southerner Regina Hubbard Gidden (Kelly Hilliard), who, because fathers only consider sons when it comes to heirs, struggles for wealth and freedom. Her two brothers Ben (Byrd Bonner) and Oscar (Anthony Ciaravino) have taken advantage of the system and are considerably wealthy while she has had to rely on her husband Horace (John O’Neill). The brothers want to join forces to build a cotton mill but are short $75,000 and want Regina to invest in their project. When Horace refuses to give Regina the money, they pressure Leo (Hunter Wulff), who works as a bank teller, to steal Horace’s railroad bonds from the bank’s safe deposit box. When Horace finds out, he argues with Regina and threatens to change his will to favor their daughter Alexandra (Alyx Irene Gonzales) but he has a heart attack and dies without amending his will. Regina blackmails her brothers into giving her a majority ownership in the cotton mill but ends up losing her daughter’s respect. In the end, she has the wealth she dreams of but ends up completely alone.

The Classic Theatre is known for putting on thought-provoking productions and this one is no exception. This morality play deals with the themes of racism, classism and greed gone amuck, problems that modern society has yet to conquer. The pursuit of the American Dream has different meanings to everyone and this family in their own unique way is determined to do what it takes to get rich. Stuck in the middle are Cal and Addie, the African American staff who disbelievingly watch the family unravel. The standout scene is when Horace has a heart attack and Regina refuses to help him; it is uncomfortable and difficult to watch but it is raw and real. The entire cast is excellent but Kelly Hilliard’s portrayal of the cold and calculating Regina is tops. As is Byrd Bonner as the racist and money-grubbing Ben. Overall, the story is timeless and keeps up with the times. The setting is reminiscent of an old Southern home and the costumes are gorgeous. ‘The Little Foxes’ is a must-see family drama that proves the more things change, the more they stay the same.

This Sunday, May 19, there will be a Classic Community Conversation after the show. The conversation is free and open to the public. Those with tickets to the May 19 matinee are welcome to stay after the show. No ticket? No problem. Come in after the show at 5:40p.m. for the 20-30-minute talk-back with the cast and creative team.

Theater review: ‘Hamilton’ at the Majestic Theatre

hamiltoncast — ‘Hamilton’ is now playing at the Majestic Theatre through Sunday May 26. Photo: Joan Marcus, used with permission.

The Tony Award®- winning musical ‘Hamilton’ opened at the Majestic Theatre on Tuesday and will run until Sunday May 26. Showtimes are Tuesday through Thursday at 7:30p.m. and Saturday and Sunday at 2p.m. and 8p.m. Tickets start at $75.50 and are available by Ticketmaster online, by calling (800) 982-2787 or by visiting the Majestic Box Office. There will also be a lottery for forty (40) $10 seats for all performances. ‘Hamilton’ is the story of America’s Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington’s right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. With book, music and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler and musical supervision and orchestrations by Alex Lacamoire, ‘Hamilton’ is based on Ron Chernow’s biography of Founding Father Alexander Hamilton.

‘Hamilton’ tells Alexander Hamilton’s story through major events in his life and American history with characters including Marquis De Lafayette, Aaron Burr, Elizabeth Schuyler Hamilton, Angelica Schuyler, and former presidents George Washington, James Madison and Thomas Jefferson. It begins with the company’s retelling of Hamilton’s (Joseph Morales) childhood as an orphan on the island of Nevis “Alexander Hamilton.” In 1776 he meets Aaron Burr (Nik Walker) and other men with similar revolutionary ideas and they get together to compare notes “The Story of Tonight.” King George (Jon Patrick Walker) enters the story and mockingly sings about his definitive authority over the colonies “You’ll Be Back.” Hamilton marries Eliza Schuyler (Erin Clemons) “Helpless” and gets involved in the war effort as Washington’s aide-de-camp. Due to his endorsement of Thomas Jefferson (Kyle Scatliffe) in the presidential election of 1800, Burr challenges Hamilton to a duel. Hamilton is fatally shot and Burr laments that even though he survived, he will live with the curse of being known as the man who killed Hamilton “The World Was Wide Enough.” It all ends as Eliza sings about Hamilton’s legacy “Who Lives, Who Dies, Who Tells Your Story.”

The hype that is ‘Hamilton’ finally hit San Antonio last week as even those who do not usually attend a live theater performance packed the Majestic Theatre. Behind all the glitz, glamour and lights is the poignant story of what is possible when people work together for a common goal. The ethnically diverse cast is significant, but not as important of the underlying message of the relevance of the role immigrants played in the founding of this country. Joseph Morales is outstanding as Hamilton and he works well with Erin Clemons to make history come alive onstage. Because the score features everything from hip-hop, jazz, blues, rap, R&B and Broadway, there is something for everyone and there is at least one song that will speak to the individual heart. Highlights include the comic relief courtesy of King George’s hilarious rantings and Thomas Jefferson’s “What’d I Miss” at the beginning of Act Two. The revolving stage is impressive and the costumes are gorgeous. Overall, ‘Hamilton’ is a modern take on history and offers a much-needed reminder of what it truly means to be an American. With universal themes of family, honor and self-determination, it is a must-see production and definitely worthy of the hype.

Theater review: ‘Freud’s Last Session’ at the Cellar Theater

freudandcs — Wesley Deitrick as Sigmund Freud and John Sillwaggon as C.S. Lewis in the Cellar Theater’s ‘Freud’s Last Session.’ Photo: Siggi Ragnar, used with permission.

Now playing at The Public Theater’s Cellar Theater is ‘Freud’s Last Session’ by Mark St. Germain as suggested by Dr. Armand M. Nicholi Jr. This thought-provoking play centers around Dr. Sigmund Freud and C.S. Lewis as they debate about God’s existence, life, love and other subjects. It plays until Sunday May 12, and after a highly successful run, the last four performances are already sold out. Show times are Thursday, Friday and Saturday at 7:30p.m. and Sunday at 2p.m. Contact the box office at (210) 733-7258 for more information about possible waiting lists.

‘Freud’s Last Session’ is set in Freud’s office on September 3, 1939 as war with Germany seems all but certain. Freud, (Wesley Deitrick) the 83-year-old Jewish refugee from Vienna, invites Lewis (John Stillwaggon), the 40-year-old World War I veteran visiting from Oxford, to his office. He wants to meet Lewis to find out why such an obviously smart man would embrace religion. Lewis is late because the trains are being commandeered to help evacuate London’s schools, hospital and jails in anticipation of bombing raids. During their visit, the air raid sirens go off, triggering one of Lewis’ PTSD episodes. They discuss God, humor, Jesus’ teachings, sex, monogamy, Hitler, homosexuality and music, among other ideas. They examine each of their childhoods and how it shaped the men they became. The controversial topic of suicide comes up because Freud has oral cancer and has considered it many times because he is in constant pain (he passes away weeks later from medically assisted suicide). Everything is going smoothly until after a heated discussion, Freud is undone by the immense pain from his sickness. The only other interruptions are the radio news bulletins from the BBC. It ends on an ironic note, as King George VI addresses the British people, telling them that “with God’s help” they would prevail over Germany.

Even though Sigmund Freud and C.S. Lewis probably never met in real life, St. Germain makes effective use of their writings and those of Dr. Armand M. Nicholi Jr.’s ‘The Question of God’ for this excellent meeting of the minds. It is not an attempt at conversion either way, just a civilized discussion of differing ideologies. Such discussions are often heated, but Freud and Lewis part as friends, not allowing their differences to go beyond points of view. Highlights include when Lewis tells Freud that history is filled with monsters, yet humanity survives and Freud counters by stating that humanity cannot survive without villains; and when Lewis gets defensive when Freud grills him about his book “The Pilgrim’s Regress” to which Freud responds “when you put your opinions to the public, expect the public to react.” Under the direction of David Rinear, it is relevant to today’s volatile society because it makes the point that it is possible to have differences of opinions without resorting to name calling and vicious vitriol. With strong performances by Deitrick and Stillwaggon, ‘Freud’s Last Session’ is recommended for audiences who appreciate smart debates and it is sure spark discussions about the topics mentioned. Definitely a must-see.

Theater review: ‘In The Heights’ at the Woodlawn Theatre

intheheightscast — ‘In The Heights’ is now playing at the Woodlawn Theatre. From left to right: Jillian Sainz as Nina Rosario, Miguel Ochoa as Usnavi De La Vega, Lisa Decker as Vanessa and Venny Mortimer as Benny. Photo: Woodlawn Theatre, used with permission.

Now playing at the Woodlawn Theatre is ‘In The Heights,’ a musical that takes place over the course of three days in the largely Hispanic-American neighborhood of Washington Heights in New York City. It opened on Friday April 12 and runs until Sunday May 5, 2019. Showtimes are Friday and Saturday at 7:30p.m. and Sunday at 3p.m. The upcoming ASL Night will be on Sunday May 5 with 25% off all tickets with code ASL. Tickets are available online or by calling the Box Office at 210-267-8388. Prices are $30 for adults, $24 for Senior/Military/First Responders and $18 for Children/Students.

‘In The Heights’ is set in Washington Heights and begins as the sun rises on the hottest day of the summer and Usnavi De La Vega (Miguel Ochoa), the owner of a small bodega, introduces the audience to the corner’s diverse residents. This includes Abuela Claudia, (Ana Hernandez) the local matriarch who helped raise most of them and Kevin (Michael J. Gonzalez) and Camila Rosario, (Victoria Nieves) who run the cab company “In The Heights.” Nina (Jillian Sainz), the Rosario’s daughter, is back from her first year at Stanford feeling defeated since she dropped out due to financial hardships. She is considered the “one who made it” and because she feels the weight of the neighborhood on her shoulders, she fears telling her parents the truth “Breathe.” When they eventually find out, they argue and Kevin feels inadequate at not being able to provide for his family “Inutil (Useless).” Everyone’s luck begins to turn when Usnavi’s bodega sells a winning lottery ticket and Abuela Claudia is the lucky winner. She passes away but not before distributing her winnings to help the neighborhood even with the changes it is experiencing. The Rosarios decide to sell the family business to help Nina with her college expenses and Nina finds love with Benny (Venny Mortimer). In the end, Usnavi is planning his future with Vanessa (Lisa Decker), his longtime crush, and accepts his role in the neighborhood and the bodega as his true home. “Finale”

The diversity of the Hispanic community and the challenges that unites them takes center stage in this entertaining musical. Despite life’s challenges, they pull together, fueled by humor and music, and prove that family is more than genetics. The talented cast works well together but Miguel Ochoa shines as Usnavi and Michael J. Gonzalez’ portrayal of Kevin’s complex character shows off his talent. Show highlights include “Breathe” as Nina laments disappointing her family and friends who wanted her to succeed, “Carnaval del Barrio (Neighborhood Carnival)” when the neighborhood celebrates after they learn who won the lottery and “Alabanza (Praise)” after Abuela Claudia passes away and they all set up a memorial outside her home. The latter number definitely pulls on the heart strings. With Fiesta season in full swing, this is the perfect time to catch the musical that celebrates Hispanic culture and music. Some of the dialogue and singing is in Spanish but the universal themes of family, loyalty and love transcends the language barriers and makes “In The Heights” a must-see production.

Theater review: ‘Late Nite Catechism’ at the Charline McCombs Theatre

latenite2 The uproaringly funny ‘Late Nite Catechism’ returned to the Charline McCombs Empire Theatre this month for four unconventional but hilarious catechism classes. ‘Late Nite Catechism’ is an interactive play about a fictitious Catholic nun where the nun is the only person on stage and the audience becomes the class. She takes the audience back to their youth as the irrepressible Sister teaches an adult catechism class. Proceeds went to benefit the Archdiocese San Antonio Chapter of the Retired Fund for the Religious which provides medication and nursing care to elderly sisters, brothers and priests.

Written by Vicki Quade and Maripat Donovan, ‘Late Nite Catechism’ is a one woman show and opens as the Sister (Kimberly Richards) welcomes her “students” for another round of catechism class. The first ones to feel her ire were the late comers. She singled them out individually and shamed them for having the gall to be late and fined them $1 each, funds which she said would go to a late-night dinner after the show. One of the female students was wearing a low-cut blouse so naturally, the Sister gave her a plastic bib to cover up during the entire show. Once class began, the topics covered were the saints whose sainthood was being reconsidered and the four different types of afterlife. She rewarded the students for correct answers with glow-in-the-dark rosaries, mini saint statues and laminated saint cards, which she said are laminated so they do not get soaked with the students’ tears. There were question and answer moments where the students shared their past experiences in Catholic school. On their way out, the audience was encouraged to drop a donation in the collection buckets.

On opening night, the audience was overwhelmingly former Catholic school students who no doubt related to most of what was being discussed. They got to relive, sometimes not too fondly, their school experience while the rest got a glimpse of the ups and downs of Catholic school. The show has the feel of an improv routine because since each audience is different, they give the Sister some of the interactive material for the night and is bound to vary with each show. With a classroom setting that includes a collage of U.S. Presidents that had Obama’s picture as the biggest one and in the middle, there was one tense moment when one of the students questioned why that was, to which the Sister plainly responded “because he is a President”…obviously. Overall, the atmosphere was relaxed but some students had already had too much to drink and were slightly belligerent but Ms. Richards held her composure. Sometimes she would just crack up laughing at her own jokes. ‘Late Nite Catechism’ is bound to strike a resonant chord with anyone who survived Catholic school with nuns as teachers and those who did not will just enjoy the fun moments while being glad they were spared.

Theater review: ‘Fiddler on the Roof’ at the Majestic Theatre

The Tony Award®- nominated Broadway revival of ‘Fiddler on the Roof’ returns to the Majestic Theatre this week. It opened last night and will play for eight performances through Sunday March 31 with showtimes at 7:30p.m. through Thursday, 8p.m. on Friday, 2p.m. and 8p.m. Saturday and 2p.m. and 7:30p.m. on Sunday. Tickets start at $40 and are available through Ticketmaster online, by calling (800) 982-2787 or by visiting the Majestic Box Office. This acclaimed revival of the classic musical is the story of Tevye, a Jewish milkman whose three eldest daughters get married, each one moving further from traditional ways, as he copes with the growing anti-Jewish sentiment in his country.

‘Fiddler on the Roof’ is set in the Russian shtetl of Anatevka in 1905 where Tevye, (Yehezkel Lazarov) lives with his wife (Maite Uzal) and five daughters. The opening scene consists of Tevye pointing out the fiddler and explaining why he sits on rooftops and remains there despite the danger—because it is tradition. He goes on to explain the various Jewish customs, one of which is arranged marriages “Prologue: Tradition.” His three eldest daughters are not looking forward to their eventual arranged marriages “Matchmaker, Matchmaker.” When Yente (Carol Beaugard), the matchmaker, matches Tevye’s older daughter Tzeitel (Mel Weyn) with Lazar Wolf, the butcher (Jonathan Von Mering), she resists because she wants to marry her childhood friend Motel (Jesse Weil). Tevye gives in to her wishes and the family celebrates the wedding Tzeitel and Motel “The Wedding” until Russian soldiers interrupt it. Tevye’s two other daughters also wish to marry for love and their choice of husband is anything but traditional. The story ends on a somber note as the government forces everyone in the village to relocate “Anatevka.”

This revival production proudly introduces a new generation to the iconic musical adored across the globe. From the first mesmerizing notes of “Prologue: Tradition” to the reverence of “Sabbath Prayer,” it is a treat to experience live. Yehezkel Lazarov is outstanding as Tevye, especially during the infectious “If I Were a Rich Man.” His witty conversations with God make his character relatable. The breaking of the fourth wall draws the audience in to empathize with the characters and share in their human experience. Highlights include “Prologue: Tradition” by the Tevye and the Villagers, “To Life” as the men celebrate when Lazar Wolf is matched with Tzeitel and “The Wedding” which includes The Bottle Dance, a crowd pleaser that drew the most applause and cheers. At the center is the importance of family traditions and faith as the older generation tries to hold on to these values in the face of a changing world. With topics such as family and history, the occasional self-deprecating humor and spectacular dancing, ‘Fiddler on the Roof’ is a must-see musical with universal appeal.

Theater review: ‘The Sound of Music’ at the Majestic Theatre

Now playing at the Majestic Theatre is ‘The Sound of Music’ and last night’s opening performance played to a full house. There are still two more chances to catch this immensely popular musical this weekend at 8p.m. Saturday and 2p.m. Sunday. Tickets start at $45 and are available through Ticketmaster online, by calling (800) 982-2787 or by visiting the Majestic Box Office. The show is the story of Maria, a postulant who is sent to work as a governess to a large family when she begins to second guess her decision to become a nun. Eventually she falls in love with the children and their widowed father Captain von Trapp. The Captain opposes the Nazis so when he is ordered to accept a commission in the German navy he and Maria flee Austria with the children. This brand-new production of the spirited, romantic and beloved musical continues to thrill audiences everywhere.

‘The Sound of Music’ takes place in Austria, just before World War II and begins at the Nonnberg Abbey as the nuns perform ‘Preludium.’ From there, it transitions smoothly into one of the audience’s favorite scene that includes Maria (Jill-Christine Wiley) singing ‘The Sound of Music.’ As soon as the von Trapp children take the stage, they captivate the audience, especially Gretl (Quinn Eden Titcomb), the youngest. Maria takes a liking to the children and teaches them the basics of music “Do-Re-Mi.” When she realizes that she might have developed feelings for the Captain (Mike McLean), she flees back to the Abbey. Lauren Kidwell, who portrays Mother Abbess, closes out the first act with ‘Climb Ev’ry Mountain’ when she tells Maria that she can not run from her problems. The von Trapps perform at the Kaltzberg Festival, after which Captain von Trapp sings “Edelweiss” as a farewell to this homeland. They sneak out before the winners are announced and hide out at the Abbey but when Sister Margaretta informs them that the borders are closed, they flee over the Alps while the nuns sing “Climb Ev’ry Mountain.”

This production features music by Richard Rodgers, lyrics by Oscar Hammerstein II and book by Howard Lindsay and Russell Crouse, suggested by “The Trapp Family Singers” by Maria Augusta Trapp. It continues to be the most successful musical in history, and for good reason. The themes of family and music remain as relevant as ever and its overall feel good atmosphere is always welcome. Jill-Christine and Mike McLean are perfect together as Maria and Captain von Trapp and their chemistry makes the show work. Highlights include Maria and the children’s “Do-Re-Mi” and Maria and Mother Abess’ “My Favorite Things.” Special mention goes to Lauren Kidwell, whose rendition of “Climb Ev’ry Mountain” blew the audience away. They were still raving about it as they left the theater. This family friendly musical appeals to long-time fans as well as newcomers and is a definite must see.

Theater review: ‘Oklahoma!’ at the Woodlawn Theatre

Now playing at the Woodlawn Theatre is ‘Oklahoma!’ the story of Laurey Williams, a farm girl who is courted by two rival suitors, the confident cowboy Curly McLain and the unstable farmhand Jud Fry, all while Oklahoma is on its way to becoming a state. It opened on February 22 with much acclaim and runs until Sunday March 17. Showtimes are Friday and Saturday at 7:30p.m. and Sunday at 3p.m. There will be a special Saturday matinee show on March 9 at 2p.m., with no evening show that day. Tickets are available online or by calling the Box Office at 210-267-8388.

‘Oklahoma!’ is set in 1906 Western Indian Territory and begins when cowboy Curly McLain (Chris Fuglestad) is looking forward to a brand-new day, “Oh, What a Beautiful Morning,” as he wanders into Laurey Williams’ (Amanda Golden) yard. The two tease each other back and forth while Laurey’s Aunt Eller (Rebecca Trinidad) watches their playful banter. Meanwhile, cowboy Will Parker (Kevin Cox) has returned from a visit to the modern Kansas City, “Kansas City,” bedazzled and filled with souvenirs and tells everyone about his experiences. Laurie is torn between Curly and Jud Fry (Brian Hodges) and has accepted an invitation from Jud to a social just to spite Curly. She purchases “smelling salts” from Ali Hakim (Ivan Ortega), a Persian peddler, in the hopes that it will help her sort out her feelings and while under its spell,“Dream Ballet,” she realizes that Curly is the man for her. At the social, the rivalry between the local farmers and the cowboys boils over, “The Farmer and the Cowman,” until Aunt Eller breaks it up by firing a gun. After the drama at the lunch box auction designed to raise money for the school house, Curly and Laurey finally end up together. They get married and everyone rejoices in celebration of the territory’s impending statehood, “Oklahoma!”

This being Rodgers and Hammerstein’s first musical, it has withstood the test of time and has become a classic for good reason. It has humor, heart and romance as well as dark and shocking moments when Jud confronts Laurie about her feelings for him. The dance numbers are so infectious and toe-tapping fabulous that guests will be sure to be singing “Oklahoma” well past the end of the show. Amanda Golden and Chris Fuglestad have the necessary onstage chemistry to portray Laurey and Curly while the set and costumes transport the audience to the early age of cowboys and square dances. The dream ballet sequence is gorgeous , kudos to Jeremy Rhom and Emily Rhom for a job well done. Show highlights include “Kansas City,” “Lonely Room” when Jud’s dark side is explored and “The Farmer and the Cowman” during the town social. Sometimes the dialogue is hard to understand due the accents but that is just part of its charm. Overall, “Oklahoma” is a fun musical with plenty of singing and dancing that will appeal to all ages. But please, try not to boo Brian Hodges during his curtain call, he is just an actor playing a part.

Upcoming promotional performances:
Pride Night – Friday March 8, 25% off tickets with code: PRIDE
ASL (American Sign Language) Night – Saturday March 16, 25% off tickets with code: ASL

Theater review: ‘The Trip to Bountiful’ at The Classic Theatre

After a successful sold-out opening weekend, ‘The Trip to Bountiful’ continues this week at The Classic Theatre. This Horton Foote play tells the story of Carrie Watts, an elderly woman who longs to escape a cramped Houston apartment and return to her beloved hometown of Bountiful, Texas one last time before she dies. It runs until Sunday March 10 with showtimes on Friday and Saturday at 8p.m. and Sunday at 3p.m. Tickets are available online or at the box office by calling (210) 589-8450. The show is two hours long with no intermission.

‘The Trip to Bountiful’ is set in 1940s Texas, where Carrie Watts (Magda Porter), an elderly woman, lives with her son, Ludie (Steven Starr) and his wife Jessie Mae (Alison Bridget Chambers), in a Houston apartment. The story begins on a moonlit night in their apartment where while Jessie Mae sleeps, Mrs. Watts comforts Ludie, who is also unable to sleep, and they share a long-ago family memory. She has a history of running off and trying to get to Bountiful so now she is constantly watched by Jessie Mae, whose interests are beauty shops and movie magazines. Mrs. Watts hides her pension check from Jessie Mae and the next morning she leaves with her bags after Ludie and Jessie Mae leave the apartment. She manages to catch a bus to the closest town near Bountiful, since there is no stop there anymore because the town is abandoned. There she meets Thelma (Emily Huber), a young lady who is on her way to her parents until her husband returns from the military. Thelma helps her find her way to Bountiful but Ludie and Jessie Mae track her down. Content that she got to see her hometown one more time, Mrs. Watts makes her peace with Ludie and Jessie Mae and they return to Houston.

Nostalgia is what drives some people to long for a return to simpler times, usually a childhood home or hometown, but time does not stand still for anyone. Carrie Watts yearned to return to Bountiful but once she got there, its residents had moved on and the town had ceased to exist. Yet the memories and emotions the trip stirred in her were enough to temporarily soothe her troubles. Magda Porter does an excellent job of bringing Carrie to life and brings the audience along with her to experience her rollercoaster of emotions. The highlight is the emotional scene when she breaks down at the bus station at the thought of not making it to Bountiful after all she went through. This talented cast works well together, especially during the set changes, and give brilliant performances all around. Nostalgia, the human condition and relatable characters make ‘The Trip to Bountiful’ a must-see timeless classic.

Theater review: ‘Anastasia’ at the Majestic Theatre

anastasia18 — Lila Coogan as Anastasia, Stephen Brower as Dmitry and Edward Staudenmayer as Vlad in ‘Anastasia,’ playing at the Majestic until Sunday February 10. Photo: Gayle McCracken, used with permission.

Now playing at the Majestic Theatre is the national tour of ‘Anastasia’ and there are still a few chances to catch it with showtimes at 8p.m. Friday, 2p.m. and 8p.m Saturday and 2p.m. and 7:30p.m. Sunday. Tickets start at $40 and are available through Ticketmaster, by calling (800) 982-2787 or by visiting the Majestic Box Office. This dazzling show transports audiences from the twilight of the Russian Empire to the euphoria of Paris in the 1920s, as a brave young woman sets out to discover the mystery of her past accompanied by a dashing conman and a lovable ex-aristocrat.

‘Anastasia’ begins with a Prologue set in St. Petersburg, Russia in 1906 as the Dowager Empress (Joy Franz) comforts her seven-year-old granddaughter Princess Anastasia who is saddened because her grandmother is moving to Paris, France. Years later in 1917, eighteen-year old Anastasia is attending a ball with her family when the Bolsheviks invade the palace and kill the family “The Last Dance of the Romanovs.” Time forwards again, this time to 1927, when two con-men, Dmitry (Stephen Brower) and an ex-member of the Imperial Court named Vlad (Edward Staudenmayer), upon hearing of the rumor that Anastasia may have survived the attack on her family, contrive to groom a naïve girl to become Anastasia to con money out of the Dowager Empress “A Rumor in St. Petersburg.” They find that girl in Anya (Lila Coogan), a street sweeper with no memory of her past but who bears a striking resemblance to Anastasia. After giving her history, dining and dancing lessons “Learn to Do it,” they take a train to Paris, France where all three have plans of their own. Eventually, Anya and her grandmother, the Dowager Empress, are reunited after her real identity is confirmed.

Based on the 1997 movie, ‘Anastasia’ adapts the legend of Grand Duchess Anastasia Nikolaevna of Russia who some believe could have escaped the execution of her family. Lila Coogan and Edward Staudenmayer have excellent chemistry and bring this heartfelt tale to life onstage.The costumes are gorgeous, especially those of the royal family. Show highlights include “Once Upon a December” when Anya dreams about her family when her memory starts coming back, “Still” when Gleb, the Russian soldier, receives orders to go after Anastasia and kill her, but is conflicted because he has developed feelings for her and “The Countess and the Common Man” when Vlad and Lily reunite – a hilarious physical comedy routine. Overall, the humor, heart and spectacular costumes, singing and dancing, makes ‘Anastasia’ a must-watch production. It should be noted, though, that the train scene in Act I when Anya, Dmitry and Vlad flee to Paris, has a rotating train set that might trigger motion sickness in some audience members.

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