The main location of the musical is a train and many scenes take place against the backdrop of the train and the railway station. Throughout the performance, a huge wheel suspended from the ceiling turns, which serves a reminder of the destiny and fate of the protagonist.

The director says that she first read the novel in school and the inner struggles of the married and in-love Anna Karenina were "incomprehensible" to her at that time.

"Several years later, I read the novel again. Then, every one of her actions irritated me, and I hated her with all my soul. Before the staging, I read the novel once more, and suddenly I felt sorry for Anna. It seemed to me that I understood her passionate protest. I felt as if I sensed her desire to be happy. I understood that there is a bit of Anna Karenina in every woman. I understood, accepted, and loved her," Chevik says.

"Tolstoy's novel is vast. Of course, we had to sacrifice some characters and plotlines," the director adds." Our librettist and poet Yuri Kim did an excellent job. We strengthened Anna's storyline, bringing her to the forefront, which allowed for a greater understanding of her tragedy."

As a director, Chevik says that she is a "sincere follower" of Stanislavsky's system (highly influential system of theater training developed over years of trial and error by the Russian actor, producer, and theoretician Konstantin Stanislavsky).