Anastasia
at Paul VI Catholic High School

Reviewed on November 18, 2017

Will LeHardy
Washington-Lee High School
Submitted for publication to Cappies News

At the height of the Russian Civil War between the communist Red Army and the anti-communist White Army, Soviet leader Vladimir Lenin ordered the execution of Tsar Nicholas II and his entire family. Legend has it that the Tsar's youngest daughter, Anastasia, escaped from her family's execution, and ever since wandered across the European continent in search of a life she couldn't remember. This tale of the manipulation of identity and the power of memory is brought to life in Paul VI High School's elegant production of Anastasia.

While the legend of the lost Russian princess was made famous for a modern-day audience with the release of the 1997 animated film, the stage play Anastasia was first performed in 1952 and was written by French playwright Marcelle Maurette. The drama follows three conmen as they attempt to pass a young amnesiac called "Anna" off as the princess Anastasia Romanov, training her in the ways of Russian royalty, all with the hopes of earning the millions of pounds entrusted within the Romanov family fortune.

Leading the cast was Gloria Whitefield as the play's title character. Whitfield showed an immense character arc in her use of evolving physicality. Her shivering and tense portrayal in the first act revealing a nervous woman who was tormented by her lack of memory of the past; as Anna was trained in the ways of royalty through the second and third acts, her posture became noticeably more elegant, no longer a sickly vagabond but a ruler of a country.

The most striking and awe-inspiring performance of the night came from Mackenzie Bacarella as the grandmother of Anastasia, the Dowager Empress. Bacarella commanded the stage upon her first entrance in the second act, her cold, erect presence a direct reminder of her former life of royalty that was shattered with the Russian Revolution and the death of most of her family members. At times comedic, at times cruel, at times heartbreaking, Bacarella's fully developed Dowager was both a regal presence and a force to be reckoned with.

The play was technically brilliant, especially in terms of the props and the lighting of the production. The set of an immaculate parlor was decorated with period objects: an old photo album, a crystal bottle of vodka, and paintings dotting the walls. The props added to the play's environment, a nostalgic reminder of 1920s, the time when the play takes place. The lighting of cool blues and warm pinks was cinematic, especially in the end of the third act with the illumination of certain doors and windows to highlight the symbolic actions of the actors.

Most impressive were the costumes of the piece. The Dowager's Act II dress of dark brown and green shades was an elegant reminder of the years of coldness she had felt ever since the death of her family and the disappearance of Anastasia. Anna's final Act III dress was a sight to be seen: a regal white Russian gown complemented by a red sash running across her body from her right shoulder, immaculate jewelry placed around her neck and on her head. The details and immense student effort put into the costumes must be applauded.

Paul VI High School's Anastasia was an impeccable work of theatre and a beautiful reminder that sometimes your identity can be found in the most unlikely of places.

Mary Lehmkuhler
St. Stephen's & St. Agnes School
Submitted for publication to Cappies News 2

A lone chandelier lights up a shabby apartment in Berlin. Three men plot how to convince the world that a bedraggled street girl is indeed a lost princess. They state their doubt, but by a twist of fate and circumstance, she very well may be.

Anastasia was based on the true story of Anna Anderson, who in the 1920s claimed to be the lost daughter of the Tsar Nicholas the Second. Anastasia follows the story of Anna, an amnesiac Russian girl, who is saved from death by a Prince. Along with his two co-conspirators, he plans to pass her off as the long-lost Princess Anastasia of the murdered Romanov family to seize her family fortune. Despite his henchmen's initial disbelief, Anna grows more confident in her role, and after meeting with characters from the Princess' past, even comes to believe her own story. By the end of the play, she attains a truly royal disposition and emerges as radiant as a star.

Paul VI's production of Anastasia balances skillfully on the brink between fantasy and reality, scheming and sympathy, and the past and the present. Gloria Whitfield, who played Anna, maintained her character well throughout the play. Amidst all the character's turmoil, Whitfield captured the confusion she was feeling with intensity.

Anastasia's Grandmother, the Dowager Empress, was played hauntingly by Mackenzie Bacarella. When Bacarella stepped slowly and deliberately onto the stage, the entire atmosphere changed. She portrayed the Grandmother's dry dissatisfaction delightfully, especially in her interactions with Katey Sue Ransom‘s eager and witty Baroness Livenbuam as well as with Anna herself. As the Dowager's feelings towards Anna change, Bacarella shows how the Dowager's stern exterior can be cracked by the promise of family. Their interactions were very emotionally charged, even when the characters fell silent. Underneath all the Dowager's cynical haughtiness and Anna's pleading, the actresses maintained a strong sense of hope that sustained and heightened their scenes.

Another aspect that amplified the play's emotion was the costumes. Even the minor characters were differentiated easily by student-made costumes that designated their class, age, and personality. Anna's dress was magnificent and glittering, and the designers clearly did research on the wear of the period. Seeing her wearing such a dress after being bundled up in peasant's rags showed just how dramatically she'd changed over the course of the play. The muffled Russian music set the tone, while the show ran smoothly and efficiently. The lighting reflected the colors of the Russian flag: red, blue, and white lights shone down on the characters. The makeup accentuated the harsh features of the less sympathetic characters while softening the peasants and protagonist, establishing their character and the roles they played.

In a play defined by memories and the past, Paul VI's Anastasia truly kept the audience in the moment.

Ward LeHardy
Washington-Lee High School
Submitted for publication to Patch.com

What would you do if you knew your life was a lie? This question and more is explored and analyzed in Paul VI Catholic High School's mischievous production of Anastasia, written by Guy Bolton and Marcelle Maurette. When a cunning group of con men dress up an amnesiac as the titular missing princess Anastasia in the hopes of obtaining the large reward for her safe return, they soon begin to question whether there is more to this girl's past than meets the eye. With incredible ability and beautiful design, the PVI players put on a mesmerizing production.

The production was riddled with incredible actors who held ability beyond their age. Playing the amnesiac Anna was senior Gloria Whitfield. In this complicated role, Whitfield was able to sincerely interpret the emotions behind the pressure her character faced. At one point anxious and confused, the next commanding and mighty, the actress portrayed this wide span of sentiments effortlessly. Another standout performance was made by lead actor Daniel Jacobs in the role of Prince Bounine, a disgraced royal leading the scheme to resurrect the long lost princess. Jacobs took a strict and mighty approach to his character, keeping a stern glare on his character's face the entire performance. His phenomenal projection also kept both his intentions and presence clear to the audience.

Perhaps the most commanding performance of the night was that of Mackenzie Bacarella in the role of the Dowager Empress, Anastasia's hardened grandmother. Bacarella also showed a wide range of emotion, particularly in her character's transition as she begins to believe Anna could be her real granddaughter. She also utilized the art of sarcasm throughout the performance both as a means of wit and to portray the hardship her character had to face. She not only commanded the stage, but also carried her subtle emotion throughout the performance.

The efforts of the technical team behind the scenes paid off tremendously onstage, with beautiful design permeating the entirety of the production. The costumes were carefully researched, beautifully designed and meticulously handcrafted by a team of Paul VI students under the direction of students Emma Hitchcock and Grace Lyons. Also tremendously accurate and stunning to the eye were the props used throughout the production, under the lead of student Amanda Kruzcowski. The set served as a picturesque and seamless backdrop to the intrigue occurring onstage.

The PVI players' incredible production leaves the audience questioning the authenticity of the characters to the very end. With lavish design and extraordinary performances, Anastasia is truly a performance you don't want to miss.

Mithra Dhinakaran
Thomas Jefferson High School for Sci/Tech
Submitted for publication to Insidenova - Sun Gazette

It is not so uncommon to pretend to be a princess. But what if someone's fantasy turned out to be the reality? We find out in Paul VI Catholic High School's production of Anastasia by Guy Bolton and Marcelle Maurette.

Based on the legend of the Grand Duchess Anastasia Nikolaevna of Russia, Anastasia begins with the discovery of a poor amnesiac named Anna who bears a startling resemblance to the long-lost princess. Along with his associates, the disgraced Prince Bounine hopes to sell her to the world as the sole-surviving member of the Romanav dynasty. If he can pull off their scam, he stands to win millions of pounds. If she turns out to be the true Princess, she will have to face the devastating tragedy of losing her family... again.

The emotional turmoil of Anna is nicely portrayed by Gloria Whitfield. She showed the maturation of her character from a feet-contorting, grimacing victim into a headstrong woman who glides across the stage with poise and elegance. Whitfield successfully reverses her dynamic with Daniel Jacobs as Prince Bounine, whose low voice booms with frustration as he loses more and more control of Anna.

The hearty supporting cast was the backbone of the entire show. Mackenzie Bacarella, playing the Dowager Empress, commanded the stage when present. With her cold, unforgiving stares at Anna, she evidences her character's distaste for the imposter. Countering Bacarella's royal haughtiness, Danny Mercuri as Dr. Serensky caresses Anna with simple, human affection. Lightening up the show was Katey Sue Ransom, the Baroness Livenbaum, whose witty, well-timed one-liners made her stand out as the Empress' companion.

The technical aspects of the show served to reflect the characters and mood throughout the play. Subtle blue lighting accentuated the eerie atmosphere near the beginning while the spotlight on Anna by the end drew the audience's eyes to her. Though the actors' diction was sometimes an issue, the sound system functioned effectively so their words could be loud and understood. The highlight of the costume department, headed by Emma Hitchcock and Grace Lyons, was the gorgeous ballgown worn by Anna near the end. A vision of gold and white, its beauty encapsulated its wearer with intricate detail and design.

The production was steadily paced and ran smoothly between intermissions. Despite the play taking place in the 1900's of Europe, the characters' individuality made them real, relevant people who wove a tale the audience could immerse themselves in. While we may not be royalty ourselves, Paul VI Catholic High School's drama team opened up a world of possibilities in their production of Anastasia.

Jennifer Lansing
St. Stephen's & St. Agnes School
Submitted for publication to Connection

With intricate costumes and props, meticulous attention to the details of characterization, and a stage management team that knows the show inside and out, you'll be "Russian" to Paul VI Catholic High School to see their brilliant take on the classic "Anastasia" that enthralled the audience and lit up the stage!

In the time of World War I and the Russian Revolution (1917), and at the end of the reign of Tsar Nicholas Romanov, Vladimir Lenin ordered that Nicholas, his entire family, and four servants who remained loyal to them be executed; however, rumors were whispered throughout Russia that the youngest princess, Anastasia, had survived, and remained alive. The princess's grandmother, Dowager Empress, offers a prize of 10,000,000 pounds for her granddaughter, should the rumor be true. Seeing an opportunity, the shamed Prince Bounine and his two comrades concoct a ruse to train and pass off an amnesiac as the princess. As the girl who goes by Anna begins to have strange memories that align with Anastasia's life, the question arises: is this girl the real princess Anastasia?

With emotional range and depth beyond her years and a sneaky character development that kept the audience engaged, actress Gloria Whitfield portrayed a brilliant Anna.. or, Anastasia, rather? Whitfield would not reveal the answer, stealthily adjusting her character from collapsing to the floor after an emotional vision of Anastasia's life, to seeing a past love interest of her other persona, Anna. This self-conflict she faces is the only obvious hint she would provide. Although secretive, Whitfield had a difficult time convincing the character of Mackenzie Bacarella, (Dowager Empress), that she was, indeed, her "Grandmama". Bacarella's first entrance rendered the theater silent. Her authoritative posture and cynical grief were slow to concede, but when they did, the overwhelming emotion both actresses displayed in their reunion was an unforgettable moment.

Providing much needed comic relief, Katey Sue Ransom (Baroness Livenbaum), stole the show with her small role, making the audience roar with laughter as she, an elderly lady, fawned to the sophisticated Empress about the good looks of any young man who passed her. Anything she did produced a reaction, even just a sly glance she threw outwards before exiting. Driving deep and thoughtful prompts such as what Anna wants versus what she believes, Danny Mercuri, (Dr. Serensky), never allowed the audience - or Anna - to be completely settled on the idea that she was, in fact, Anastasia. His deep and obvious work he had done with characterization and his spectacular use of silence allowed for a moment of thought.

The costume designers (Emma Hitchcock and Grace Lyons), however, were the real star of the show. Ranging from dark, bellowing skirts, to high leather boots, to stunning sequined gowns, half of the story was told in fabric. The lighting team, lead by Nick Greene, indicated the passing of time obviously, helpful to the audience, lost in thought. It was noted that, in a show with many different entrances and exits, the stage management team (Erin Madden and Kate Turner) knew their show, and did their part perfectly, as no cues were seemingly missed.

With talented young actors, techies, fashion designers, and makeup artists, this production of "Anastasia" by Paul VI Catholic High School, along with their show topic, is one for the history books!

Joshua Mutterperl
Thomas Jefferson High School for Sci/Tech
Submitted for publication to Fairfax County Times

Is Guy Bolton and Marcelle Maurette's "Anastasia" the story of three good-hearted nobles helping a traumatized princess re-adapt to her royal life, or three con men and the girl from the street they dress in borrowed clothes to make a quick ruble? The Paul VI Players manage to skillfully walk the line between these two possibilities in their production of "Anastasia."

The play is set in 1926 Russia, eight years after the Bolshevik Revolution and massacre of the ruling family, the Romanovs. Right off the bat, we are introduced to our three conspirators, Chernov (the banker, played by Jak Ketron), Petrovin (the artist, played by Daniel Wright), and Bounine (the prince, played by Daniel Jacobs). The three actors work very well together, feeding off of each other's energy while deciding how to make the newly found Anna (our lead, portrayed by Gloria Whitfield) into a convincing Anastasia Romanov, a princess rumored to have survived her family's massacre. Jacobs in particular made excellent use of his voice and stage presence to project power, authority, and drive, showcasing itself in tense moments with Anna.

Over the course of the show, as Anna gains more and more detailed memories of intimate events, the audience begins to wonder if all of these anecdotes are a product of her coaching from the trio, or perhaps there is something else at play. Whitfield does a wonderful job of keeping the audience guessing as to her true identity. Our perception as to whether she is the poor Anna, or the long-lost Anastasia varies continually, and sometimes as quickly as from line to line.

The show is elevated by a strong set of interesting and unique supporting characters, the most prominent of which is the grouchy Dowager Empress, or Anastasia's grandmother, played by Mackenzie Bacarella. Bacarella had a commanding presence that demanded attention and, coupled with her well-timed delivery, made her a joy to watch.

Other audience favorites included Katey Sue Ransom as Baroness Livenbaum, an old but incredibly lively and flirtatious woman, and Adam Hill as Sergei, the doorman. Hill's reactions and strong choices took what could have been a standard, boring character and instead made it very entertaining. Hill's comedy shined best when paired with the comedy of Varya, the maid, played by Maddie Mangilit.

Technically, the show operated with very few errors, and the microphones generally worked quite well and had a nice sound to them. Anastasia's beautiful dress in the third act is both period-appropriate and visually appealing.

Strong performances all around and unique costumes make Paul VI's production of "Anastasia" an thought-provoking and remarkable viewing experience.