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

PRODUCTIONS

Broadway - The Broadhurst Theatre (2017-2019)
US National Tour
The Hague, Netherlands

Madrid, Spain (Fall 2018)
Stuttgart, Germany (Winter 2018)
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

“...projection designer Aaron Rhyne puts on quite a show. Perching us on a bridge over a gently flowing canal through St. Petersburg/Leningrad, chugging along a train trip through Eastern European woods, rising through blossoming fruit trees to come upon a panorama of the City of Lights, Rhyne takes us on an unforgettable theatrical voyage.”
- LA Daily News

"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

"Aaron Rhyne’s dazzlingly cinematic projections. The scene changes are so fluid they could be hallucinations. Every backdrop is eye candy, saturated with luscious color. In one jaw-dropping sequence, a train car hurtles down a tree-lined track; in another, we swoop up and down the Eiffel Tower as if it’s a roller coaster while fireworks explode in a denim-blue sky. Both scenes, like Universal Studios rides, do their best to convince us that we’ve taken a thrilling journey when we haven’t moved an inch.”
- LA Times - Pantages review

"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

"For Anastasia on Broadway, projection designer Aaron Rhyne redefines the role of video design in a musical.”
- Live Design Online

"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

"Technically, projection design by Aaron Rhyne is over the moon. St. Petersburg at night converting in Anya's mind into the 1917 ball preceding her family's execution is astounding as is the ride on the train from Russia to France. With the movement of the railroad tracks behind, you could swear you were onboard.”
- Broadway World

"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

"Anastasia is a delightful spectacle of a show that takes audiences on a virtual reality train ride through the snowy Russian landscape to the cherry blossom lined avenues of Paris, backlit by the Eiffel Tower. Aaron Rhyne’s artistic projections are the star of the show as they seamlessly shift mood and locale as the story unfolds.”
- Event-NewsEnterprise

"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

"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

"So verleihen die opulent gestalteten Kulissenteile in Verbindung mit “dem Projektionsdesign von Aaron Rhyne nicht nur dreidimensionale Tiefe, sondern vor allem Authentizität. In Sekundenschnelle verwandelt sich das Bühnenbild durch das Zusammenspiel von beweglichen Kulissen und der zentralen LED-Wand vom Romanow-Palast in eine verschneite Stadtsilhouette, einen Opernsaal oder einen Nachtclub.” 

Thus, the opulently designed set pieces, in combination with “the projection design by Aaron Rhyne, not only lend three-dimensional depth, but above all authenticity. Within seconds, the backdrop turns into a snowy city skyline, an opera hall or a nightclub through the interplay of moving backdrops and the central LED wall of the Romanov Palace.”
- Kulturfeder

"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