The Anastasia File – Theatre Royal, Windsor

One of the twentieth century’s most enduring historical mysteries provides rich material for ‘The Anastasia File’, Royce Ryton’s drama exploring the extraordinary story of Anna Manahan, the woman who spent decades claiming to be Grand Duchess Anastasia, the supposedly murdered daughter of Tsar Nicholas II.

Following the execution of the Romanov family in 1918, the play moves to Berlin two years later, where a traumatised young woman is rescued from a canal and subsequently placed in an institution. Gradually, details emerge that suggest she may be the surviving Anastasia. From there, questions of memory, identity, trauma and inheritance begin to intertwine as those around her attempt to establish whether she is a survivor of unimaginable brutality or an extraordinarily convincing imposter. The concept provides a fascinating premise, and this Theatre Royal Windsor production boasts some accomplished performances, but unfortunately the intrigue never quite develops the dramatic momentum it deserves.

Jenny Seagrove gives an impressive and carefully considered performance as Anna. There is vulnerability beneath her more imperious moments, and she convincingly communicates a woman whose identity has become inseparable from trauma. Yet the casting does create an unusual theatrical dilemma. Seagrove also portrays the older Mrs Manahan, but with much of the story returning to Anna as a young woman, it can be difficult to completely accept the character at that stage of her life. This is no reflection on the quality of Seagrove’s performance, which is excellent, but the decision not to cast a younger actress for the earlier periods feels increasingly curious as the evening progresses.

Simon Shepherd provides a strong counterpart as the Inspector, bringing warmth, authority and a welcome naturalism to proceedings. His exchanges with Seagrove are among the production’s strongest moments. Ashley D Gayle brings versatility to the supporting roles, while Rosie Thomson also contributes well across multiple characters. Thomson appeared to encounter a few difficulties with her lines during the performance, resulting in some noticeable hesitations, but she recovered professionally each time and never allowed these moments to significantly disrupt the scene.

The greater problem is pace. Under Roy Marsden’s direction, the production unfolds with such deliberation that its central mystery struggles to generate sufficient tension. There is a considerable amount of historical exposition to navigate and, particularly during the first half, scenes feel overly drawn out. For a story involving murder, revolution, disputed identity, enormous wealth and one of history’s great unanswered questions, there is surprisingly little sense of urgency.

That lack of momentum ultimately diminishes the emotional power too. The performances are strong and the material is undeniably intriguing, but the scenes rarely land with the force that their subject matter promises. There are moments when the mystery draws you in, only for the measured pacing to loosen its grip again.

‘The Anastasia File’ is an intelligent and well-acted examination of a remarkable historical story, led by two assured performances from Seagrove and Shepherd. Yet despite all the ingredients for a gripping theatrical thriller, this particular mystery file takes rather too long to reveal its secrets.

‘The Anastasia File’ continues its run at Theatre Royal, Windsor until 3rd October and tickets are available at https://theatreroyalwindsor.co.uk/anastasia-26

Reviewer: Alan Stuart Malin

Reviewed: 30^th September 2026

North West End UK Rating: