There are no talking bats in Anastasia: The Musical. Nor is there an undead wizard or a magical reliquary. Instead, expect a somber but hopeful exploration of myth and memory, dreams and deceptions. There are glamorous gowns and glittering tiaras, yes, but they most often appear in bittersweet memory sequences. Simply put, this is a princess story, but it is not a fairytale.
Sterling Playmakers’ production of Anastasia may not be typical summer family musical fare, but as the curtain dropped at the end of Act One at the Sunday matinee, a tiny voice from the audience could be heard whispering, “I love it.” Don’t underestimate children’s capacity to enjoy darker material, especially when accompanied by a glorious score by Lynn Ahrens and Stephen Flaherty. This is still a Musical with a capital M: 14-piece orchestra, 44-person cast, fabulous set pieces, and big production numbers.
The stage adaptation of the popular 1997 animated movie hit Broadway in 2017. Set after the Russian Revolution, it’s the story of Anya, a troubled orphan girl who suffers from amnesia — until she meets a pair of con artists looking for a girl they can pass off as the Grand Duchess Anastasia Romanov. While the Romanovs were all executed during the revolution, a rumor persists that the youngest daughter, Anastasia, survived. What begins as a plot to take advantage of a traumatized girl in exchange for reward money turns into an excavation of a long-buried past as Anya slowly pieces together her identity. She begins her journey hoping for home, love, and family and finds them, but not always in the places she expects to.
Julia Hornok shimmers in the title role with a crystal-clear voice and cut-glass diction that hints at aristocratic roots. As written, there is a coldness and remoteness to the stage version of Anya — she is understandably walled off by trauma and therefore not the most relatable heroine for many, but Hornok finds key moments to peel back those defensive layers.
She establishes a touching rapport with Daniel DeVera’s Dmitry, the con artist with a heart of gold. DeVera’s warm, facile tenor voice truly shines in this role, and his soaring solo “My Petersburg” is the surprise musical highlight of the first act. DeVera is always fully present in the moment as an actor — his actions all feel authentic and spontaneous. Conrad Rodearmel plays Dmitry’s partner-in-crime and self-described “biggest fake of them all,” Vlad Popov, with fluid physicality that brings extra exuberance to numbers like “Learn to Do It.”
Kate Clark brings a sardonic edge and high-kicking dance moves to the role of Countess Lily, Vlad’s love interest and the Dowager Empress’ right-hand woman. She is very much the modern woman in this costume drama and adds a welcome touch of levity to the second act.
Another standout in Act Two for the opposite reasons, Marguerite Driessen pours emotion into her performance as Anastasia’s grandmother, the regal Dowager Empress. Her song “Close the Door” feels almost like a Shakespearean soliloquy as she navigates the commingled regret, hope, bitterness, pride, and loneliness of a woman who feels like a fading relic of a forgotten time.
The new antagonist of the stage musical is a Bolshevik Deputy Commissioner named Gleb whose father helped execute the Romanovs and who is now determined to finish the job. In the hands of Spencer Milligan, he’s less fanatical loyalist and more conflicted, even uneasy. Gleb wants to have his cake and eat it, too: to be respected and obeyed, but also to be liked and perhaps even loved by the very people he threatens to kill. “I am nothing but a man with nothing but his orders to fulfill,” he sings in a resonant baritone voice that nonetheless conveys a hollowness at Gleb’s core.
The elephant in the room here is that the Romanovs were real people who suffered a terrible fate, sadly including Anastasia herself. It also must be said that the Romanov dynasty did real harm as rulers. While the musical itself tries to navigate historic events with a more grounded and less supernatural approach than the animated film, it’s still a bit tricky to tell fact from fiction, and trickier still to avoid a tinge of pro-monarchical sentiment.
To handle this head-on, the Sterling Playmakers have created a kind of mini-museum in the lobby to explain the actual history of the Romanovs, as well as how their legacy has been represented over time. It’s a smart touch and certainly worth taking a look at before the show or during intermission to give some context to the events of the show.
But if you are impressed by the attention to detail in the lobby, wait until you see the actual stage. Set designers Courtney Garofolo and Dave Moretti have concocted a set that looks and feels lavish and includes several elements inspired by the Broadway production, all on a community theater budget. Westfield High School’s set construction crew and master carpenter Ian Berson have created some truly beautiful set pieces.
The stage is framed by stately columns, which hint at either a magnificent palace or ruins — fitting for a show set in the ashes of an empire. At the center of the stage is a large projection screen on which projection director Jon Roberts works his magic. The show kicks off with falling snow over the streets of St. Petersburg and later transports us to a tour of the city’s rooftops, a view of the Eiffel Tower, and most memorably, spectral dancers in a ballroom during “Once Upon a December.”
The biggest technical triumph of the show is a hollow wooden train car set piece with windows through which we see projected scenery fly by. Cast members turn the train this way and that as Anya, Dmitry, and Vlad set off on their journey. It’s all executed to precision and makes “We’ll Go From There” a showstopper. In Act Two, we get to see another impressive set, this time at the ballet in Paris. Towering platforms house box seats for the ballet, a pivotal scene in which each character bares their soul.
Meanwhile, the ballet sequence itself is very well done, with featured dancers Allison Kate Copeland, Fallon Reese, Syd Austin, and Jessica DeVera neatly performing Swan Lake-inspired choreography. Choreographer Philip Smith-Cobbs is a former professional ballet dancer and it shows. Elsewhere, he treats audiences to dreamy waltzes in Russia, an uptempo Charleston in the streets of Paris, and some very impressive lifts and kicks from the cast.
It’s all backed by a splendid live orchestra, giving each number gorgeous texture and weight, under the steady leadership of music director Jessica Foy Long.
For the best auditory experience, resist the urge to sit front and center and put a little distance between yourself and the orchestra pit, as individual soloists in group numbers are otherwise sometimes drowned out by the power of the orchestra. The large and lively ensemble is the heartbeat of the show. Although not every soloist in Anastasia has perfect pitch, all can act a song well and put storytelling and stakes first, including the strongest vocalists. Nobody is “just a pretty voice” here.
Anya’s wardrobe is practically a character in itself in this musical as she transforms from a street sweeper to a Grand Duchess. Young “pretty princess dress” aficionados in the audience are in luck. Anya looks a dream in her navy blue mermaid dress for the ballet and like true royalty in her sparkly red ballgown.
The array of costumes in Anastasia is dizzying, and the costume team has their hands full dressing so many actors in so many different ensembles. Costume designer Allison Ball is assisted by Nancy Ball, Margie Lazo, and Leecy Silk, with specialty costume designers Hannah Conradt and Liza Unverzagt as well as a slew of costume assistants. Their hard work all pays off. Parisian attire includes pastel drop-waisted frocks in chic contrast to the dark and drab attire worn in the streets of St. Petersburg. (Ratty fur coats for a trio of “actresses” are a nice touch.) The Bolsheviks are wrapped in dull green coats or sharp uniforms studded with medals, and the Romanovs dress in exquisite white suits and gowns. Lighting designer Cecelia Hilliard casts a ghostly glow over the Romanovs’ pale costumes in memory sequences to appropriately eerie effect.
Directors Jim Bowen-Collinson and Courtney Garofolo confidently lead a large cast and crew through every stunning stage picture, big song and dance number, and swift set transition. The many hands who contributed to this show are a reminder of the beauty of community theater. When so many people from different walks of life come together under a shared vision, magical things happen.
At the heart of Anastasia, beneath the dazzling stagecraft and the sometimes-questionable history, is a moving story of a young girl finding herself in a very literal way. Children in the audience will admire Anya’s courage just as much as her beauty (and not just girls — boys deserve great heroines as role models, too), while adults will appreciate family entertainment that doesn’t talk down to audiences or resort to winking pop culture references. Come along for the ride on this compelling journey of self-discovery and you may find yourself inspired to pursue your own improbable dreams and schemes, one step at a time.
Running Time: Two hours and 45 minutes, including intermission.
Anastasia: The Musical plays through August 9, 2026, presented by Sterling Playmakers performing at Loudoun County High School, 415 Dry Mill Rd. SW, Leesburg, VA. Friday and Saturday evening performances are at 7:30 PM, Sunday performances are at 2:00 PM, with a special additional matinee on Saturday, August 1. Tickets are $20 and available online or in person at the box office.
Anastasia: The Musical
Book by Terrence McNally
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
CAST
Anya: Julia Hornok
Dmitry: Daniel DeVera
Vlad Popov: Conrad Rodearmel
The Dowager Empress: Marguerite Driessen
Gleb Vaganov: Spencer Milligan
Countess Lily: Kate Clark
Tsar Nicholas II: Joshua Behm
Tsarina Alexandra: Shannon McCarthy
Young Anastasia/ Alexei Romanov: Scarlett Welker
Olga Romanov/ Odette: Allison Kate Copeland
Tatiana Romanov/ Swan: Jessica DeVera
Maria Romanov/ Swan: Syd Austin
Teen Anastasia/ Odile: Fallon Reese
Count Ipolitov/ Dmitry u/s: Nathan McGraw
Dunya: Cameo Manning
Marfa: Isabel Ochoa
Paulina/ Countess Gregory: Lauren Sunday
Count Leopold: Robert Smart
Gorlinsky: Earle Greene
Sergei: Lars Nyman
Count Gregory: James Mangovski
Anya u/s: Meghan Eyerman
The Dowager Empress u/s: Laura Paez
Countess Lily u/s: Amanda Hornig
Young Anastasia/ Alexei Romanov u/s: Ellie Brady
Count Ipolitov u/s: Brian Preedanon
Romanov Dancers: Sophie Brzozowsky, Grace Fisher, Abraham Perdomo Pacheco, Brian Preedanon, Robert Smart, Cat Thompson, Henry Zeigler
The Drunks: Taylor Body, Jacquelyn Duval, James Mangovski, Jeff Wichman
Ensemble: Casie Antalis, Taylor Body, Ellie Brady, Sophie Brzozowsky, Brooke Debebe, Jacquelyn Duval, Meghan Eyerman, Elizabeth Ferrell, Elyse Ferrell, Grace Fisher, Earle Greene, Laura Leftwich, James Mangovski, Cameo Manning, Christine Marsden, Nathan McGraw, Carol Moore, Lars Nyman, Isabel Ochoa, Srihita Paka, Rohan Patel, Abraham Perdomo Pacheco, Brian Preedanon, Robert Smart, Lauren Sunday, Cat Thompson, Neelima Vivek, Jeff Wichman, Henry Zeigler.
Dance Captain: Syd Austin, Taylor Body
Fight Captain: Henry Zeigler
ORCHESTRA
Conductor: Jessica Foy Long
Bass: Avery Wood
Bass Clarinet: Liam Dodge
Cello: Brady Smith
Clarinet: Nora Upchurch
English Horn: Sebastian Loza
French Horn: Jonathan Ohmart, Connie Pittman
Keyboard 1: Ginny Maddock
Keyboard 2: Lisa Mattia, Abner Mondoloka
Percussion: Nathan Nocon
Trombone: Keegan Maddox
Trumpet: Logan McConnell
Violin 1: Amanda Dickson
Violin 2/ Viola: Alex Lew
PRODUCTION TEAM
Producer: Elyse Drum
Assistant Producer: Brandon Seehoffer
Director: Jim Bowen-Collinson, Courtney Garofolo
Assistant Director: Lauren Baker
Music Director: Jessica Foy Long
Choreographer: Philip Smith-Cobbs
Intimacy Director: Michelina Anne Pollini
Stage Combat Choreographer: Jane White
Weapons Master: Henry Zeigler
Production Stage Manager: Helen Gernhardt
Assistant Stage Manager: Nat Paukstys
Running Crew: Joe Campanella, Chuck Fisher, Jacob Fisher, Bella Huh, Elli Paukstys, Lincoln Paukstys, Matthew Welker
Technical Director: Galen Beaver
Set Design: Courtney Garofolo, Dave Moretti
Master Carpenter: Ian Berson
Set Dressing: Jane Waldrop
Set Dressing Assistant: Charlotte Waldrop
Properties Curator: Laura Garofolo
Lighting Design: Cecelia Hilliard
Lighting Operator: Cecelia Hilliard
Spot Operator: William Casey, Patrick Hammes
Projection Director: Jon Roberts
Sound Design: Elizabeth Shaher
Sound Operator: Elizabeth Shaher
Sound Assistant: RC Castaneda, Iain Ronis
Costume Designer: Allison Ball
Costume Design Assistant: Nancy Ball, Margie Lazo, Leecy Silk
Specialty Costume Designer: Hannah Conradt, Liza Unverzagt
Costume Assistant: Jon Conradt, Heidi Conradt, Jeannie Delisi, Anna Edmonds, Emily Edmonds, Claire Severson, Andee Vandenberg
Makeup Design: Lara Reyes-Rivas
Wig Design: Lindsay Steinberg
Dramaturg: Jim Bowen-Collinson
Publicity Manager: Robyn Stafford
Graphic Designer: Jennifer Garofolo
Social Media Lead: Katherine Schauer
Social Media: Elyse Drum, Jennifer Garofolo, Shannon McCarthy, Arianna Santana, Brandon Seehoffer, Robyn Stafford
Publicity Events Lead: Arianna Santana
Publicity Events: Grayson Andrews, Langston Andrews, Taylor Body, Lora Buckman, Joe Campanella, RC Castaneda, Kate Clark, Cassidy Cook-Lapierre, Daniel DeVera, Jessica DeVera, Elyse Drum, John Geddie, Julie Hornok, Nathan McGraw, Autumn Pollock, Conrad Rodearmel, Julie Sabatino, Brandon Seehoffer, Lauren Sunday, Liza Unverzagt
Traditional Media Lead: Jordan Lohmeyer
Photography: Chip Gertzog, Courtney Garofolo, Jennifer Garofolo, Jonathan Larson
Building Manager: Nathan McGraw
Box Office Manager: Mary Abbott, Mark Humphrey
House Manager: Julie Sabatino
Audition Manager: Barbara Gillen, Julie Sabatino
Audition Assistant: Lora Buckman, Joe Campanella, Helen Gernhardt, Barbara Gillen, Katherine Schauer, Kareem Taylor
Audition/ Event Pianist: Ginny Maddock
Audition Videographer: Lauren Baker
Westfield High School Strike: Alex Basil, Galen Beaver, Taylor Body, Jim Bowen-Collinson, Joe Campanella, Elyse Drum, Raven Finley, Courtney Garofolo, Jennifer Garofolo, Laura Garofolo, David Moretti, Sam Tempe, Westfield Drama Dept.
Load-In: Nate Antalis, Joe Campanella, RC Castaneda, Bella Huh, Josh Marsden, David Moretti, Jon Roberts, Scott Ruegg, Cast of Anastasia
