Education & Resource Guide - ANASTASIA The New
Education & Resource GuideJourney to the pastT H EN E WB R O A D WAYM U S I C A L
Journey to the pastT H ESECTIONN E W1B R O A D WAYM U S I C A LABOUT THE MUSICAL Synopsis3 Meet the Characters4THE CREATIVE PROCESSSECTION2 About the CreatorsActivity: Lyric WritingA Backstage Look:The Life of a Costume Activity: Costume Creation57 15The Opera DropTHE ROMANOVSSECTIONSECTIONSECTION345914 The Romanov Family TreeThe Romanov FamilyGrand Palace BallsActivity: Choreograph the BallActivity: Create Your Own Family TreeActivity: Adapting a Legend161719202122 Activity: Home Memory Collage23ABOUT RUSSIA Russsia and World War I The Russian Revolution of 1917 Russian Protests – February 1917 Activity: Gleb Character Analysis Activity: Missing Scene Activity: Social Status Walk1920S CULTURE Cultural Figures in the 1920s Activity: A Parisian Salon2425262829303134A nastasia B roadway . com2
Section 1: About the MusicalNICOLE SCIMECA AND MARY BETH PEIL, ANASTASIA, Hartford StageSynopsisSAINTPETERSBURG,When the Dowager Empress Maria Fyodorovna Romanov gives her belovedgranddaughter Anastasia a music box, she has no idea it is the last time she will seeher. As the musical ANASTASIA begins, Russia is on the verge of revolution. Timejumps from 1907 to 1927, and Anastasia’s family, the imperial Romanovs, fall victimto the tide of history. When the Dowager Empress receives the news that they havebeen put to death, she believes she has lost her entire family.SAINTPETERSBURG,Russia is now firmly under the Bolshevik Communists’ rule, but the winters are stillcold, the people are still hungry, and rumors have begun to surface that one Romanovdaughter might have survived. Dmitry and Vlad, two opportunistic Russian conartists, attempt to find an impressionable girl to pass off as Anastasia to the DowagerEmpress, who is offering a reward for her granddaughter’s safe return to Paris. Theirpatience is rewarded when they find Anya, a young woman suffering from amnesia,who has spent the past years traveling across Russia, from Perm to Odessa and finallyto Saint Petersburg. Dmitry and Vlad begin to “teach” her what she needs to know.Striking similarities between Anya and Anastasia begin to surface. However, Anya’sactivities have caught the notice of a rising Communist official, Gleb, whose fatherwas involved in the murders of the Romanov family. Gleb wonders to himself ifhe could have pulled the trigger, but tells Anya—in no uncertain terms—that if shecontinues to pose as Anastasia, she will end up like the Romanovs. Anya, Vlad,and Dmitry escape Russia and Gleb’s reaches just in time, traveling through Poland,Germany, and more on the way to Paris.PARIS,Once in the city of lights, Vlad attempts to reconnect with Lily, the DowagerEmpress’ lady-in-waiting and his lost love, to arrange a meeting between theDowager and Anya. Anya, meanwhile, is haunted by a nightmare of the Romanovfamily and continues to wonder if she could possibly be Anastasia. Dmitry comfortsher, telling her a story of when he saw Anastasia as a young boy and fell instantlyin love. The story triggers something in Anya, and she remembers seeing Dmitrythat day, proving that she is Anastasia. But when she finally meets the DowagerEmpress at the Paris Opera, the Dowager is determined not to recognize her asher granddaughter. When Anya shows her the music box, however, there can be nodenying their connection.190719271927As Vlad and Lily prepare the press to be introduced to Anastasia, the DowagerEmpress readies Anya for the life she will lead—one in which she will loseDmitry,who is not a proper match for a royal princess. Anya intends to choosea life with Dmitry and leave, but she is stopped by Gleb, who has tracked her allthe way from Russia to finish the job his father started. Haunted by memories ofthe Romanov family, however, he cannot pull the trigger. Anya disappears withDmitry, and the Dowager announces to the press that the memory of Anastasiawill live on only as a legend.3
Section 1: About the MusicalMeet the CharactersCHRISTY ALTOMARE AND THE COMPANY OF ANASTASIA, Hartford StageANYAVLADDMITRYLILYWhen we first meet Anya, she is alost soul, but one with great strength,pride, determination, and dignity.As the story progresses, she beginsto discover her sense of self andthe possibility that she may be themissing daughter of Tsar Nicholas.The prince of St. Petersburg’s blackmarket, Dmitry is an opportunisttrying to make it on the streets ofRussia by selling stolen objects fromthe Tsarist past. He creates thescheme to find an Anastasiaimpersonator in order to gain thereward for her safe return. He’stough, persuasive, and daring.DOWAGER EMPRESSShe is the formidable and imperiousgrandmother of Anastasia. Anastasiais her favorite grandchild, and sheloves her with all her heart. She nevergives up the belief that hergranddaughter might be alive butfinally, after years of enduringimpersonators, she becomes bitterand hardened.GLEBGleb is a son of the Russianrevolution. As a career officerin the Bolshevik secret police, he isa passionate defender of the hardwon gains of the new order. Hisattraction to Anya puts him inviolent conflict with himself. Whichwill he choose?Before the revolution, Vlad was aminor functionary at the imperialcourt. He’s Dmitry’s right handman, and because of his romanticrelationship with Lily, he arrangesa meeting between Anya and theDowager Empress.The confidante and lady-in-waitingto the Dowager Empress. She’scompassionate, respectful, andgood at her job, but also delightfuland worldly when she’s not with theDowager.YOUNG ANASTASIAThe daughter of the Tsar of Russia. A sweet andimpressionable young princess.TSAR NICHOLASA loving father. Elegant. He tries to keep the peacebetween his mother, the Dowager Empress, and theTsarina. As his youngest daughter grows into a youngwoman, he protects and guides her.TSARINA ALEXANDRAA stern mother. Very devout, brittle, paranoid aboutthe collapsing regime and grief-stricken about the healthof her son, the Tsarevich. Uncomfortable around hermother-in-law.COUNT LEOPOLDHe’s one of the presumptive Romanov heirs; a snob; abit of a fop.COUNT IPOLITOVA dignified White Russian and intellectual, griefstricken about leaving his homeland. Authoritative andformidable.4
Section 2: The Creative ProcessAbout the CreatorsTERRENCE McNALLY, BOOKRecipient of the Dramatists Guild of America Lifetime AchievementAward, Tony Awards for his plays Master Class and Love! Valour!Compassion! and his musical librettos Kiss of the Spider Womanand Ragtime and an Emmy Award for Andre’s Mother. In 1996 hewas inducted into the American Theatre Hall of Fame. An anthologyof his plays, Terrence McNally: A Memoir In Plays, was recentlypublished by Grove Press. He has written the libretto for two operas,Deadman Walking and Great Scott, both with Jake Heggie.There was a celebration of his work at the Kennedy Center in 2010including the world premiere of Golden Age. ANASTASIA is histhird collaboration with Lynn Ahrens and Stephen Flaherty and hisfirst with Darko Tresnjak.Terrence McNallyLynn AhrensLYNN AHRENS, LYRICISTRecipient of the Tony, Drama Desk, Outer Critics Circle Award andtwo Grammy nominations for Broadway’s Ragtime. Nominated fortwo Academy Awards and two Golden Globes for Twentieth CenturyFox’s animated feature film ANASTASIA. Inducted into the TheaterHall of Fame in 2015. Theater: Once On This Island, Seussical, AMan of No Importance, Dessa Rose, The Glorious Ones, MyFavorite Year, Lucky Stiff, Madison Square Garden’s A ChristmasCarol, Chita Rivera: The Dancer’s Life, Rocky, Little Dancer.Film/TV: A Christmas Carol (NBC- TV), Camp (IFC Films),Schoolhouse Rock (ABC-TV). Honors: Emmy Award, Oliver Award,Oscar Hammerstein Award for Lifetime Achievement, Lilly Award.Council, Dramatists Guild of America, co-founder, Dramatists GuildFellows Program. Third show with Terrence McNally and thirty-plusyears of collaboration with Stephen Flaherty.STEPHEN FLAHERTY, COMPOSERStephen Flaherty composed the music for the Broadway showsRagtime, Once On This Island, Seussical, Rocky, Chita Rivera:The Dancer’s Life, Personals and My Favorite Year. Othermusicals include: In Your Arms, Little Dancer, The Glorious Ones,Loving Repeating, Dessa Rose, A Man of No Importance, LuckyStiff. Awards for his work in the theater include the Tony, DramaDesk, Outer Critics Circle and Olivier. He has been nominated forthe Grammy three times. Film work includes Twentieth CenturyFox’s ANASTASIA (two Academy Award and two Golden Globenominations.) Concert music: Carnegie Hall and others. Council,Dramatists Guild of America. Happy to be on this journey withTerrence McNally and Lynn Ahrens, his collaborator of thirty-plusyears. Inducted into the Theater Hall of Fame in 2015.AhrensAndFlaherty.comStephen Flaherty5
Section 2: The Creative ProcessAbout the CreatorsWhy We Tell THIS Story My favorite Shakespeare plays are his late romances: Pericles,Cymbeline, The Winter’s Tale and The Tempest. Theytell of families torn asunder, of long and perilous voyages,and of improbable yet heartbreaking reunions. They seem toencompass all of life’s joys and sorrows. And at or near thecenter of each one is a mysterious and determined young woman.Darko TresnjakThe same is true of ANASTASIA. I have come to think of it as atheatrical romance and of the title character (whose name means“resurrection”) as our Marina or Imogen. I suspect that everyone, butespecially immigrant children like myself, who learn about separationand loss from an early age, has a need to believe in stories likeANASTASIA.Since the recent DNA findings about the Romanov family, we justknow for certain what we pretty much knew all along: Anna Andersonwas not Anastasia. To me, that does not really matter. A fabricationgave birth to a myth, a modern romance. As Paulina says so movinglyat the end of The Winter’s Tale: “It is required you do awake yourfaith.”—DARKO TRESNJAK, DIRECTORSeeing Ragtime for the first time was a life changing event inmy career. I was friends with the conductor who subsequentlylet me sit in the pit and immerse myself in the glorious work.The fusion of music, text and visuals combined to make mepassionately interested in story telling through movement. In allhonesty, it is a dream come true to work with Terrence McNally,Lynn Ahrens and Stephen Flaherty. I am still pinching myself.ANASTASIA spans countries, decades and movement styles usingso many of the colors on my palette. I have enjoyed creating dances thatrange from ethnic troikas and mazurkas to jazz age Charlestons andimperial Russian ballet. My 15 year association with Darko has grantedus a shared vocabulary and history which allows us to work ever moreclosely with a mutual passion and sense of purposeful storytelling.Peggy Hickey—PEGGY HICKEY, CHOREOGRAPHER6
Section 2: The Creative ProcessActivity:Lynn Ahrens and Stephen Flaherty have been asongwriting team for many years. Ms. Ahrens writesthe lyrics, or words, to the songs, and Mr. Flahertywrites the music. Their musicals include Once on ThisIsland (1990), Ragtime (1998), Seussical (2000), andANASTASIA (film – 1997, stage version – 2016).Lyric WritingEach of these stories features characters that mustmake daring choices to fulfill their dreams. Ahrensand Flaherty have perfected a songwriting process forexploring protagonists who push past fear and obstacleswhile on journeys of self-discovery.Standards: CCSS. ELA-LITERACY.SL.6-12., NCAS.TH:Cr1.1.6.7.8.b, NCAS. TH:Cr2-6.7.8b., NCAS. TH:Cr2-II.,NCAS. MU:Cr1.1.C.HSII.Procedure1.Provide students with the lyrics below. You may wish to have students listen tothe songs as well. “Waiting for Life” from Once on This Island“Alone in the Universe” from Seussical“Wheels of a Dream” from Ragtime“Journey to the Past” from ANASTASIA2. Discuss: What similarities and differences do you notice among the song excerpts below?Where do the lyrics employ techniques like repetition, imagery, rhyme, etc.?How do they communicate a sense of passion? What does the character want?What elements help create a sense of hope, promise, or determination?How might the characters express who they are through lyrics? (Look for cluesthrough dialect and accents.)3. Put students in pairs and have them imagine their own story about a characterwho must overcome an obstacle and learn something new about themselves. Itmay be a character from a traditional fairy tale, a favorite book, or history. Havethem write a song they sing as part of their story. Students should decide whowill write the lyrics and who will write the melody. Start with just one verse andchorus. HINT: Students may find it useful to use a “rhyming dictionary.” Then,allow students to share their character, story and song with the rest of the class.4. Reflection: Do you have a friend or relative who writes music or likes to make up their ownsongs? Would you ever collaborate with them to become a songwriting team?Did you find it easy or hard to work with someone else creatively?Were you able to split the responsibilities of lyrics and music, or did you findyourselves approaching it more holistically?7
Section 2: The Creative ProcessLyric WritingActivity:Derek Klena and Christy Altomare, ANASTASIA, Hartford StageTI MOUNE in “Waiting for Life to Begin” fromOnce on This Island(Ti Moune was orphaned in a storm as a young child. Shewas raised by a loving couple, but as she comes of age she feelsshe has some larger purpose in life.)OH GODS, OH GODS,ARE YOU THERE?WHAT CAN I DO TO GETYOU TO LOOK DOWN AND GIVE IN?OH GODS, OH GODS,HEAR MY PRAYER!I’M HERE IN THE FIELDWITH MY FEET ON THE GROUNDAND MY FATE IN THE AIR,WAITING FOR LIFE TO BEGIN!HORTON in “Alone in the Universe” fromSeussical(Horton is an elephant who finds a tiny speck of dust andhears the Whos of Whoville crying out. No one believesthat the tiny city of Whoville exists on the speck of dust, butHorton must protect them.)THERE ARE SECRETS ON A LEAF,IN THE WATER, IN THE AIR,HIDDEN PLANETS, TINY WORLDS,ALL INVISIBLE!NOT A PERSON SEEMS TO KNOW.NOT A PERSON SEEMS TO CARE.THERE IS NO ONE WHO BELIEVES ATHING I SAY.WELL, I’M FAIRLY CERTAINAT ONE TIME OR OTHER,GREAT THINKERS ALL FEEL THIS WAY!I’M ALONE IN THE UNIVERSE.SO ALONE IN THE UNIVERSE.I’VE FOUND MAGIC BUT THEY DON’TSEE IT.COALHOUSE in “Wheels of a Dream” fromRagtime(Coalhouse is a young African-American musician livingin New York in the early 1900s. He has just bought one ofthe first cars and he and Sarah drive to a picnic where theyimagine the future for their newborn son.)I SEE HIS FACE.I HEAR HIS HEARTBEAT.I LOOK IN THOSE EYES.HOW WISE THEY SEEM.WELL, WHEN HE IS OLD ENOUGHI WILL SHOW HIM AMERICAAND HE WILL RIDEON THE WHEELS OF A DREAM.ANYA in “Journey to the Past,” ANASTASIA(Anya, a Russian peasant with amnesia, is tasked withpretending to be the lost Princess Anastasia as she journeys toParis with her travel companions. She does not remember herpast could she truly be Anastasia?)HEART, DON’T FAIL ME NOW.COURAGE, DON’T DESERT ME.DON’T TURN BACK NOW THAT WE’REHERE!PEOPLE ALWAYS SAYLIFE IS FULL OF CHOICES.NO ONE EVER MENTIONS FEAR!OR HOW THE WORLD CAN SEEM SO VASTON A JOURNEY TO THE PAST SOMEWHERE DOWN THIS ROADI KNOW SOMEONE’S WAITING.YEARS OF DREAMS JUST CAN’T BE WRONG.ARMS WILL OPEN WIDE.I’LL BE SAFE AND WANTED,FIN’LLY HOME WHERE I BELONG!WELL, STARTING NOW I’M LEARNINGFASTON THIS JOURNEY TO THE PAST 8
Section 2: The Creative ProcessA Backstage Look:The Life of a CostumeThe musical ANASTASIA is set against the backdropof some of the most quickly changing times of the 20thCentury. We begin in the twilight of the Russian Empire,continue through the Russian Revolution and end upin Paris in the 1920s. For Anya’s most elegant costumein ANASTASIA, a 1920s Parisian gown, CostumeDesigner Linda Cho did a great deal of research, cameup with an initial design, and then revised it extensivelybased on the available material. Here are the major stagesof designing and realizing one of the most importantcostumes in the musical.Phase 1: DesignThe design of Anya’s dress went through several changes.Costume Designer Linda Cho describes the process:— a Vionnet bias pieced gown. When we were swatching[looking for fabrics] for the show, we looked everywherefor the perfect fabric: a soft drape, understated metallicshimmer, gentle small-scale pattern all in pale rose gold— a tall order. We even went so far as to have samplefabric milled in France and looked at having whitefabric dyed and hand-painted the perfect color andtexture.One day out in the stores, I saw a fabric that embodiedthe spirit of everything we had been looking for.However, knowing that the original design would notwork for this fabric, I took various elements of myresearch to create a new dress.““The initial design was entirely differentOriginal rendering of Anya’s Act Two dress.Costume design by Linda Cho.Fabric that inspired the redesign of Anya’s dress.9
Section 2: The Creative ProcessA Backstage Look:The Life of a CostumeFinal rendering of Anya’s Act Two dress. Costume design by Linda Cho.Above images: 1920s inspiration for the new design.10
Section 2: The Creative ProcessA Backstage Look:The Life of a CostumePhase 2: Construction /Phase 2: Construction /The first stage of building the costume is creating theunderstructure, which gives the dress its shape. Theunderstructure is made from two layers of quiltedbobbinet, or thin cotton netting. It took eight hoursto quilt enough bobbinet so that the First Hand hadenough to cut out the entire dress pattern. This processcreates a strong but lightweight and low-profile layerthat disappears under the fashion fabric of the dress.Boning tape is then applied to the understructure.The steel boning slides between the two layers oftape so as not to pierce the bobbinet and tear thefabric. White lace is then applied to raw hems, turnedup, and sewn down by hand so that, even at thisvery inside layer of the dress, all edges are finishedbeautifully.The first layer of cream fashion fabric is cut out frompaper patterns. The pattern is placed directly ontothe fabric and, using weights to hold it in place, islightly traced with a pencil to create the stitch line,along which the pieces of fabric are sewn together.The First Hand then measures away from the stitch lineand draws a cut line, forming the seam allowance, which isbetween the stitched seam and the raw edge of the fabric.The paper patterns are hung on a rack when not in useto prevent tearing or folding.Understructure and BoningPatterning11
Section 2: The Creative ProcessA Backstage Look:The Life of a CostumePhase 2: Construction / Outer LayerThe outer layer of the dress is formed from a soft netted fabricdecorated with sequins. To create the bottom shape of the dress,the sequins are carefully cut around and a new hem is created.32Phase 2: Construction /Assembly11.The Stitcher begins to sew together the panels of nettingthat will create the ruffle at the bottom of the dress.2. The lace and netting are prepared for attachment to thedress.3. The Draper gathers the ruffle for the bottom of the dress.Four different types of fabric are combined to form the train.44. The three separate layers of the dress are married together — theunderstructure, the cream fashion fabric, and the net overlay— and the front drape of the dress is placed. The garmentcontinues to take shape as the sequined bodice is attached andnetting is added over the shoulders.12
Section 2: The Creative ProcessChristy AltomareA Backstage Look:The Life of aCostumePhase 3: FittingsIt’s time for fittings! ANASTASIA star ChristyAltomare wears the nearly finished gown. The final fabricfitting will follow — based on observations made duringthis fitting, any necessary design or sizing changes will bemade and beaded decorations will be added.Did You Know? Christy AltomareInitial measurements for ANASTASIA actors weretaken months in advance in New York or at the actor’shomes.The dress has four layers of fabric and a train but onlyweighs about 3.5 pounds.It took four people and close to 120 hours to buildthe dress, from draping to completion.13
Section 2: The Creative ProcessActivity:Costume CreativityStandards: NCAS. TH:Cr1.1.1., CCSS.ELA-LITERACY.SL.6-10.6Procedure1. Research & DesignWorking in groups of 2-4, sketch (on paper orelectronically) your own design for Anya’s 1920sParisian gown (or a costume for another characterin ANASTASIA). For older students: Use theinformation included in this packet as well as yourown research to make the costume appropriate forthe time period.2. Get “Swatching”Look around your house and school for materialsthat could be used to make your costume. Besure to locate all of the necessary items includingunderstructure/boning if necessary. Be creative—wrapping paper, duct tape, old sheets, and eventoilet paper can become beautiful pieces of clothing.Like Costume Designer Linda Cho, you may needto adjust your design slightly based on the materialsyou find, but that is just part of the process.Final rendering of Dowager Empress.Costume design by Linda Cho.3. ConstructDecide who will be the model and who will be theemcee for your costume fashion show. Start buildingthe costume. Work together to create an excitingscript for your emcee that describes yourcostume. For older students: Explain how yourcostume fits the time period, mood, and character.Pick some fitting music as well—this could be musicfrom the musical, from 1920s Paris, or anything youfeel expresses the character and costume.4. Costume Parade/Fashion ShowEmcees rehearse your speech and models practiceyour best strut; now show off your super sweet dudsin your very own fashion show! Note: The fashionshow could be simple or elaborate. Feel free to inviteguest judges and make it a competition.5. ReflectWhat challenges did you face when using foundmaterials to create your costume? How are thesechallenges similar and different from the ones facedby costume designer Linda Cho? What did you mostenjoy about designing and creating a costume?Materials “The Life of a Costume” and 1920s culture research.Various everyday materials for costume constructionsuch as duct tape, wrapping paper, trash bags,newspaper, toilet paper, etc. These items couldbe provided by the teacher or students.Final rendering of Tsarina Alexandra.Costume design by Linda Cho.Final rendering of Vlad.Costume design by Linda Cho.14
Section 2: The Creative ProcessO’Connor, Care,De reknd The ComASASTf ANrtfotagerd SA Backstage Look/How It’s MadeThe Opera DropOne of the pivotal moments in ANASTASIA is whenAnya prepares to meet the Dowager Empress Maria,who may be her long-lost grandmother. The DowagerEmpress is attending Tchaikovsky’s ballet SwanLake at the Opera House, and Vlad has arrangedAnya to be presented to her as the “Grand DuchessAnastasia.” In order to highlight the drama leadingup to their meeting, Scenic Designer AlexanderDodge researched the Palais Garnier OperaHouse in Paris. From his set rendering, HartfordStage’s Scenic Charge Artist Curt Tomczyk andhis team brought the famous opera curtain to life.“One of the key components for a project of this scopeis time and patience. It took a team of four people 600hours to complete this drop based on the curtain at thePalais Garnier in Paris. We use the same methods as theRenaissance painters, such as Michelangelo on theSistine Chapel—people have been painting in this stylefor 600 years or the cellar while they waited for the cars to arrive.Anastasia brought her dog along with her. As had become common practice for Russian nobility during the Revolution, familyjewels were sewn into Anastasia’s and her sisters’ clothes. When shots were fired, they ricocheted off of the jewels. The entireRomanov family was executed.17
Section 3: The RomanovsRomanov FamilyBiographiesTSAR NICHOLAS II(Anastasia’s Father) May 6, 1868-July 17, 1918When his father, Tsar Alexander III,died of liver disease, Nicholas becameTsar Nicholas II at the age of 26.Tsar Nicholas IIDOWAGER EMPRESSMARIA FEODOROVNAROMANOVA(Anastasia’s Grandmother, “Nana”)November 26, 1847-October 13, 1928While in the musical, Maria leaves forParis when Anastasia is young, the realDowager Empress stayed in Russiathrough the Revolution. Even afterDowager Empress Mariarumor spread about the death of her sonFeodorovna Romanovaand her grandchildren, Maria refusedto leave Russia. Only in 1919, at the behest of her sisterAlexandra, did she leave Russia for England. Soon after, shereturned to her homeland of Denmark where she died at theage of 81.TSARINA ALEXANDRAFEODOROVNA(Anastasia’s Mother) June 6, 1872-July 17, 1918Princess Alix Viktoria Helena LuiseBeatrice of Hesse was born in Germany,the sixth child of Grand Duke Louis IVof Hesse and Princess Alice, and theTsarina Alexandragranddaughter of Queen Victoria ofFeodorovnaEngland. After Alexandra’s marriage toNicholas, there was much conflict between her and DowagerEmpress Maria especially when the healer Rasputin enteredtheir lives. Alexandra and Nicholas’ only son, Alexei, sufferedfrom hemophilia—the “royal” disease that afflicted manydescendants of Queen Victoria.GRAND DUCHESS OLGANIKOLAEVNA ROMANOVA(Anastasia’s Sister) November 15, 1895-July 17, 1918The first child born to Nicholas and Alexandra was supposedto be a son and heir. Despite national disappointment,Olga’s parents doted on her. Miss Margaret Eagar, an Irishgoverness employed by the Romanovs, said of Olga thatshe was stubborn yet compassionate, inquisitive about theoutside world, and completely devoted to her father.GRAND DUCHESS TATIANANIKOLAEVNA ROMANOVA(Anastasia’s Sister) May 29, 1897-July 17, 1918The second daughter of Nicholas and Alexandra, Tatianabecame known as “The Governess” and kept her othersiblings in line. Tatiana had a serious quality to her but couldfind enjoyment in anything. She loved her Fr
When the Dowager Empress Maria Fyodorovna Romanov gives her beloved granddaughter Anastasia a music box, she has no idea it is the last time she will see her. As the musical ANASTASIA begins, Russia is on the verge of revolution.Time jumps from 1907 to 1927, and Anastasia’s family, the imperial Romanovs, fall victim to the tide of history.
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