Anastasia (Youth Edition)

AUS DEM KATALOG VON CONCORD THEATRICALS

ANASTASIA
(YOUTH EDITION)

Buch von TERRENCE MCNALLY
Liedtexte von LYNN AHRENS
Musik von STEPHEN FLAHERTY

Deutsche Dialoge von RUTH DENY
Deutsche Liedtexte von WOLFGANG ADENBERG

Inspiriert durch den Twentieth-Century-Fox-Film
mit spezieller Übereinkunft mit Buena Vista Theatrical
Nach dem Theaterstück von MARCELLE MAURETTE in der Adaption von GUY BOLTON

Photo: Photo: US National Tour, 2021 (Jeremy Daniel)

LIZENZANFRAGE

ANSICHTSMATERIAL

ANASTASIA (YOUTH EDITION)

BESETZUNG
6 Damen
5 Herren
10 beliebiges Gender
Ensemble
Details siehe unten

SPIELDAUER
Ca. 60 Minuten

GENRE
Film-Adaption
Familienshows

SPRACHFASSUNGEN
Englisch
Deutsch (in Vorbereitung)

DETAILS

ÜBER DAS STÜCK

Die Youth-Edition des Musicals ANASTASIA wurde speziell im Hinblick auf junge Darsteller und Schulaufführungen konzipiert; trotz notwendiger Kürzungen folgt die Handlung eng dem Original.

Im bolschewistischen Russland geht das Gerücht um, die jüngste Zarentochter Anastasia könnte die Ermordung ihrer Familie überlebt haben. Sich an diese Hoffnung klammernd, setzt die nach Paris geflohene Großfürstin Maria Fjodorowna eine hohe Belohnung für das Auffinden ihrer Enkelin aus.

Solch ein Angebot können sich die beiden Lebenskünstler Dimitry und Vlad Popov natürlich nicht entgehen lassen! Die Anastasia wie aus dem Gesicht geschnittene Straßenkehrerin Anya kommt da wie gerufen, besonders da sie unter Amnesie leidet und nur die vage Erinnerung hat, dass jemand sie in Paris erwarte. Um dorthin zu gelangen, lässt sie sich von Dimitry und Vlad überreden, sich als Anastasia auszugeben. Der Crashkurs in Sachen hochadliges Verhalten wird jedoch schnell zu einer lebensgefährlichen Angelegenheit, als sie ins Visier der sowjetischen Behörden geraten. Ganz gleich, ob es sich hierbei um die echte oder eine falsche Anastasia handelt: Der Offizier Gleb Vaganov wird beauftragt, sie zu eliminieren, sodass das Gaunertrio überstürzt aus Russland fliehen muss. In Paris findet Anya immer mehr heraus, wer sie war. Und auch Dimitry, Vlad und Gleb müssen sich den Dämonen ihrer Vergangenheit stellen. Doch sollte ihre Geschichte wirklich ihre Zukunft diktieren?

HINTERGRUND

Eine 60-minütige, speziell auf junge Darsteller zugeschnittene Adaption des spektakulären Broadway-Musicals, in dem es darum geht, zu entdecken, wer man ist, und zu entscheiden, wer man sein will. Das Stück kann mit Backing Tracks oder Klavierbegleitung aufgeführt werden.
Das Musical ANASTASIA von den Tony-Preisträgern Terrence McNally, Stephen Flaherty und Lynn Ahrens basiert lose auf dem gleichnamigen Zeichentrickfilm aus dem Jahr 1997, orientiert sich jedoch enger an den historischen Fakten. Sechs Lieder wurden aus dem Film in das Musical übernommen, darunter das oscarnominierte Journey to the Past (Reise durch die Zeit) und das für einen Golden Globe Award nominierte Once Upon a December (Es war einmal im Dezember).

PRODUKTIONEN (Auswahl)

Broadway Premiere
24. April 2017
Broadhurst Theatre
New York

Deutschspr. Erstaufführung
15. November 2018
Stage Palladium Theater
Stuttgart

AWARDS & NOMINIERUNGEN

2017 Tony® Award
Best Featured Actress in a Musical – Mary Beth Peil (Nominierung)
Best Costume Design in a Musical – Linda Cho (Nominierung)

2017 Drama Desk Awards
Outstanding Musical (Nominierung)
Outstanding Actress in a Musical – Christy Altomare (Nominierung)
Outstanding Featured Actress in a Musical – Mary Beth Peil (Nominierung)
Outstanding Book of a Musical – Terrence McNally (Nominierung)
Outstanding Music – Stephen Flaherty (Nominierung)
Outstanding Costume Design for a Musical – Linda Cho (Nominierung)
Outstanding Orchestrations – Doug Besterman (Nominierung)
Outstanding Projection Design – Aaron Rhyne (Auszeichnung)
Outstanding Sound Design in a Musical – Peter Hylenski (Nominierung)

2017 Drama League Award
Outstanding Production of a Broadway or Off-Broadway Musical (Nominierung)
Distinguished Performance Award – Caroline O'Connor (Nominierung)

2017 Outer Critics Circle Award
Outstanding New Broadway Musical (Nominierung)
Outstanding Actress in a Musical – Christy Altomare (Nominierung)
Outstanding Featured Actor in a Musical – John Bolton (Nominierung)
Outstanding Featured Actress in a Musical – Caroline O'Connor (Nominierung)
Outstanding Featured Actress in a Musical – Mary Beth Peil (Nominierung)
Outstanding Book of a Musical – Terrence McNally (Nominierung)
Outstanding New Score – Stephen Flaherty & Lynn Ahrens (Nominierung)
Outstanding Director of a Musical – Darko Tresnjak (Nominierung)
Outstanding Set Design – Alexander Dodge (Nominierung)
Outstanding Costume Design – Linda Cho (Nominierung)
Outstanding Lighting Design – Donald Holder (Nominierung)
Outstanding Projection Design – Aaron Rhyne (Auszeichnung)
Outstanding Orchestrations – Doug Besterman (Nominierung)

MUSIK

MUSIKALISCHE NUMMERN

01
Es war einmal im Dezember
Once Upon a December

02
Der letzte Tanz der Romanows
The Last Dance of the Romanovs

03
Was man redet in St. Petersburg
A Rumor in St. Petersburg

04
Im Traum
In My Dreams

05
Gerüchte überall
The Rumors Never End

06
Du kannst es dir merken
Learn To Do It

07
Mein Petersburg
My Petersburg

08
Es war einmal im Dezember
Once Upon a December

09
Mein Land
Stay, I Pray You

10
Dann sehen wir mal
We'll Go From There

11
Reisesequenz / Doch
Traveling Sequence / Still

12
Reise durch die Zeit
Journey to the Past

13
Paris
Paris Holds the Key (To Your Heart)

14
Paris (Reprise)
Paris Holds the Key (Reprise)

15
Land, das einmal war
Land of Yesterday

16
Ein Albtraum
A Nightmare

17
Unter all den Menschen
In a Crowd of Thousands

18
Ankunft im Ballett / Es ist soweit
Arriving at the Ballet / Meant to Be

19
Wir können nur gewinnen
Everything to Win

20
Es war einmal im Dezember (Reprise)
Once Upon a December (Reprise)

21
Die Pressekonferenz
The Press Conference

22
Wir können nur gewinnen (Reprise)
Everything To Win (Reprise)

23
Doch
Still

24
Finale
Finale

HÖRBEISPIELE

BESETZUNG

ROLLEN

ROLLEN
(In order of appearance)

Young Anastasia – A great role for a younger performer who is ready to take some responsibility onstage. She sings along with the Dowager Empress but doesn’t have a solo, so cast a confident actor who can portray a precocious royal princess!
The Dowager Empress – True royalty, and she knows it. Cast an actor who reads as older onstage, and can encompass both the Dowager Empress’s regal bearing but also her deep grief as losing her family. This character does not need to dance but should be an excellent actor and singer. The Dowager Empress sings “Once Upon a December.”
Tsar Nicholas Ii – Not quite as serious as his mother The Dowager Empress, especially with his young daughter Anastasia. Cast an actor who reads as older onstage and makes a good pair with Young Anastasia. This role requires ensemble singing and some acting, but cast an actor who is comfortable dancing and performing choreography.
Tsarina Alexandra Fyodoronva – A good role for a dancer who may not be comfortable performing a larger role with solos and dialogue. Cast a dancer who can portray the Tsarina’s regal bearing, and excel during the Romanov family’s various appearances throughout the show in Anya’s memories.
The Russian Court, including the Photographer, Anastasia’s Three Sisters, her Brother, and other members of the Court – appear throughout the show as figments of Anya’s lost memories. This is a good place for performers who are movers or dancers and excel with ensemble singing.
Anya – The undisputed lead of the show. Anya’s journey is what the show is all about: her bravery, tenacity and perseverance make her the hero of the story, even though she’s also the princess. An innate likeability and natural sense of comedic timing are both helpful for this street-smart lost princess. This role requires your strongest singer and actor, as Anya has multiple solos and must portray a large emotional range throughout the show. Anya sings “Learn to Do It,” “Once Upon a December,” Journey to the Past” and “In a Crowd of Thousands.”
Gleb Vaganov – The strait-laced Soviet officer with a softer side who is tasked with locating Anya. Though Gleb is the antagonist of the story, in his mind, he’s the hero – he truly believes in the Soviet cause and is doing his best to be a good soldier. Cast a strong actor and singer in this role who can understand the nuances of this character. Gleb sings “The Rumors Never End.”
Dmitry – A street urchin turned con artist. Though his career choices aren’t necessarily honest, Dmitry has a heart of gold and ultimately chooses what’s best for Anya, despite what he might want for himself. If Anya is the lead of the show, Dmitry is a close second – cast a mature, responsible performer with innate charm and comic timing. Dmitry must be an excellent actor/singer and a good dancer. Dmitry sings “Learn To Do It,” “My Petersburg” and “In a Crowd of Thousands.”
Luda, Galina, Alexei, Sasha, Nikola, Mira, Mikhail and the Marketeers – Good roles for performers who may be new to the stage, or who aren’t ready to take on a larger role. These roles require featured lines and solos and are great spots to involve more young people.
Vlad Popov – A charming, jovial, intelligent character who should be played by an actor with great comic timing. Vlad serves as friend to Dmitry, the trio’s “in” with Lily, and as the buffer between Dmitry and Anya’s budding romance. This is the role for your strongest comedic actor. Make sure he reads as older onstage, is a good singer and fine mover, and pairs well with Lily. Vlad Popov sings “Learn to Do It.”
The Countess Ipolitov – A featured acting and singing role with lines and a solo. Cast an actor who can read as older onstage and who can handle the dramatic subject matter of the scene. The Countess Ipolitov sings “Stay, I Pray You.”
Count Leopold – A featured acting role. Cast an actor who can make a big impression from a few lines – though the Count isn’t onstage very long, he has to stand up to Lily, so cast someone with a good stage presence. Count Leopold sings “Land of Yesterday.”
Lily – The life of the party! She is the Dowager Empress’s lady-in-waiting, and former royalty herself. She loves everything 1920s Paris has to offer. Lily must be an excellent dancer and good actor and singer. Cast someone with a sense of comic timing who works well with Vlad. Lily sings “Land of Yesterday.”

ENSEMBLE

The ensemble in this musical is a great place for anyone who would like to be involved in the show. The Marketeers Have a few sung lines, and Gorlinsky, the Exiled Russian and Announcer Have spoken lines. The People of Paris and People in the Neva Club should be dancers or strong movers, but everyone else should simply have a willingness to put on a great show! Policeman 1 and Policeman 2, the Russian Court and People of Russia are great roles to fill with your ensemble.

INSTRUMENTAL-BESETZUNG