Anastasia is a fantasy, with a moral as big as a house, concerning Grand Duchess Anastasia Nikolaevna (1901-1918), daughter of the Russian Tsar Nicholas II (1868-1918). She was killed at Ekaterinburg in 1918 by the Bolsheviks after the Russian Revolution.

It is set in Berlin in 1928. Three well-connected conmen hatch a plan. They intend to find a new Anastasia, which - if they can convince those who still remember the real Anastasia to testify to the girl’s authenticity - will allow them to claim the £70 million that the Czar deposited in England before his death.

The trouble is that they can't find a suitable girl, and the conmen - led by cashiered Cossack ex-aide-de-camp Bounin (Andrew Byron) - are running out of time. Eventually Bounin finds a girl (Ilona Bou Habib) who might just do, even though she does not speak Russian. She has escaped from an asylum, is in despair and about to commit suicide.

Gradually a transformation takes place, as the plot to substitute the girl for the assassinated Duchess slowly seems to overtake the plotters. In confrontations with members of the family and servants - including the statesmanlike Chamberlain (Morris Perry, with impressive gravitas) - she seems to go further than her grooming would allow in the evidence she can provide to support her claim. And an American journalist (Paul Croft) is sniffing around, trying to uncover the truth of her background.

The play has some really wonderful moments including the strange slow-motion tableau which ends the first half; and the final confrontation with the supremely sceptical mother of the late Tsar, Dowager Empress Maria Feodorovna (played superbly by Eileen Nicholas).

Confrontations reveal some of the way of life of the Romanov dynasty in its final years, and the terrible details of their deaths. This is a serious and seriously entertaining production, delightfully played for the most part, with some impressive cameo performances - Thomas Garvey as the nervous Jewish conspirator is particularly good. Designer Adrienne Carlile's props and furniture are spot-on. Director - Kate Sellers finds impressive ways to use the space.

If, at the end, the play lapses a little into fantasy, it doesn't matter. This is a history lesson with wit, charm, passion and purpose. A lack of grittiness in the treatment of its subject is perhaps a valid criticism, but this is more than made up for by the production's overall entertainment value and very high quality stagecraft.

Cast Credits: (alpha order): Jed Aukin - The Workman. Andrew Byron - Bounin. Julian Caddy - Pavel Abramovich. Paul Croft - Journalist. Katy Dower - Washerwoman. Thomas Garvey - Isaac Abramovich. Ilona Bou Habib - The Girl. James Lomax - The Prince. Alix Middleton - Lady in Waiting. Eileen Nicholas - Dowager Empress Maria Feodorovna. Morris Perry - Chamberlain. Lizeth Ribo - Maid.

Company Credits: Writer (of original play, 1952) - Marcelle Maurette (1909-1972). Adapters - Kate Sellers & Andrei Vironov. Director - Kate Sellers. Designer - Adrienne Carlile. Composer - Maria Antal. Lighting Designer - James Baggaley. Sound Designer - Peter Sunnegren. Lighting - Rob Mills. Technical Operator - uncredited. Fight Director - Michael Brolin. Stage Manager - Ashley Illman. Assistant Stage Manager - Sarah Breen. Production Assistant - Hoesli Labhart. Production Assistant - Becky McGuigan. Design Assistant - Elizabeth Wallbridge. Press - Amber Massie-Blomfield (Mobius). Producer - uncredited. Company - Walking Thoughts. Website - www.walkingthoughts.co.uk.

END

(c) Michael Spring 2009

reviewed Friday 18 December 2009 / Pushkin House, London UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com