By WILLIAM CORBETT
November 24, 2006

A quaint family stands still, staring blankly. The family shouts, cutting the silence as gun shots ring out, slaughtering the people. Thus begins the action of Marcelle Maurette’s Anastasia as performed by the Abbey Players, the last play of the fall semester schedule.

The play tells the story of an estranged, amnesia-stricken Russian princess. The opening moments set the mood for what follows. A succession of dated black-and-white video clips introduced the performance, showing scenes of Russian royalty observing a military parade, of sisters playing on the deck of a ship, and of higher class European life in general. This showcase of scenes revealed much about the play’s background in very little time, allowing the audience to get some understanding of the general time period and the overall setting of the play.

Lights then opened on a family, seemingly posing for a portrait (as described above). As gun shots are fired and the family is killed, we see that one of the girls, Anastasia (played by Anne Cook), has shielded her eyes with her hands as she is shot. This moment turns out to be pivotal to the play’s plot.

The opening scene demonstrated from the beginning the quality of the show’s cast as well as other factors of the production -- the lighting, timing, and sound were all coordinated masterfully throughout the performance.

The play continued with Act 2 with Prince Bounine (Aaron Clark), Petrovin (Andrew Antoine), and Chernov (Warren English) in the Prince’s rented house discussing his recent financial troubles. Bounine claims he has the assumedly-dead Russian princess, Anastasia, in custody. The accountants passionately express their disbelief at this statement, believing that the princess had died eight years earlier. Petrovin and Chernov acknowledge the potential earnings from this discovery, as trust funds were created for Anastasia and could be claimed by Prince Bounine if she were found to be alive.

The play progressed fluidly and the actors succeeded in moving the play along so as to keep the audience’s attention. The actors’ movement around the entire stage allowed the performers to capitalize on their location on stage, flexing their theatrical muscles. The so-called princess is then brought into the room, though she appears ragged and anything but stately. In fact, she herself suggests that she is not the real princess. The accountants contest her authenticity as well, but Bounine insists on her heritage. The distinct scars on her hands and forehead -- remnants of the attack on her family -- force them to reexamine their doubts, though Anastasia protests and offers the explanation that she suffered injuries in a factory explosion earlier in her life.

The performers’ interaction with each other made the situation come alive and seem spontaneous, as if the dialogue were coming to the players at the very moment of verbalization.

As the play continued, we find Anastasia residing with Prince Bounine, suffering through examinations from varied people. Some who visit contest she is from the past where she maintained the status of princess, while others argue she is a laboratory assistant in a small town. Much like a mystery-movie, the play challenged the audience to determine the truth. Finally, the grandmother of the real Anastasia eventually comes to Bounine’s house and submits her opinion on the authenticity of this girl.

The relationship displayed between Anastasia and the Dowager Empress (Heather Byrd) called to each heart in the Haid Theatre. The overflow of emotion between the two women was truly riveting to watch, making for a memorable scene. The audience could be heard sighing as the act came to a close.

The last act of the play went on to present more information to help the audience decide if this woman really is the princess she is said to be. The Abbey Players presented the play in such a way that the true decision was ultimately left to the viewer.

Overall, the actors portrayed the characters realistically and displayed a wide range of emotions that made for an entertaining show. Also, the efforts of the men and women behind the scenes must not be overlooked, as their coordination and efficiency took the play from above average to superior. Director Simon Donoghue succeeded in presenting a smooth, enjoyable production.