Anastasia

PRODUCTION CREDITS

Directed by Darko Tresnjak
Written by Terrence McNally, Stephen Flaherty, and Lynn Ahrens
Choreography by Peggy Hickey
Scenic Design by Alexander Dodge
Costume Design by Linda Cho
Lighting Design by Donald Holder
Sound Design by Peter Hylenski
Video and Projection Design by Aaron Rhyne

CURRENT PRODUCTIONS

Broadway - The Broadhurst Theatre
US National Tour
Madrid, Spain (Fall 2018)
Stuttgart, Germany (Winter 2018)

PRODUCTION HISTORY

Hartford Stage (2016)

Drama-Desk-Logo

Drama Desk Winner
Outstanding Projection Design 2017

Outer Critics Circle

Outer Critics Circle Winner
Outstanding Projection Design 2017

Connecticut Critics Circle Logo

Connecticut Critics Circle Winner
Outstanding Projection Design 2016

"All the design elements earn admiring gasps, especially Aaron Rhyne’s impressive projections,
heightening the drama of the show’s knockout locomotive number, “We’ll Go From There.”
- Variety

"All the design elements earn admiring gasps, especially Aaron Rhyne’s impressive projections,
heightening the drama of the show’s knockout locomotive number, “We’ll Go From There.”
- Variety

"That marks the first full use of the spectacular video projections that add so enormously to the visual richness of this show. I’ve never seen a fuller or more effective use of projections. Credited to Aaron Rhyne, these are state-of-the-art animated scenes that wheel and rotate and will eventually carry us across Europe by train. They provide the visual punch necessary for a grand reveal of Paris in the final moments of Act 1. Colorful and magical, they also conjure up ghostly figures when necessary, adding tones of nightmare and mystery. Aided by the triple turn table set designed by Alexander Dodge, the sheer array of looks achieved in this proscenium show is stunning. I wager the visuals alone will keep even young audience members raised on movies fully captivated.
- Broadway World

"That marks the first full use of the spectacular video projections that add so enormously to the visual richness of this show. I’ve never seen a fuller or more effective use of projections. Credited to Aaron Rhyne, these are state-of-the-art animated scenes that wheel and rotate and will eventually carry us across Europe by train. They provide the visual punch necessary for a grand reveal of Paris in the final moments of Act 1. Colorful and magical, they also conjure up ghostly figures when necessary, adding tones of nightmare and mystery. Aided by the triple turn table set designed by Alexander Dodge, the sheer array of looks achieved in this proscenium show is stunning. I wager the visuals alone will keep even young audience members raised on movies fully captivated.
- Broadway World