Revolutions can bring both triumph and pain. The Romanov dynasty, which had ruled imperial Russia for several centuries, was killed at the hands of Bolshevik revolutionaries in 1918, ushering in the Vladimir Lenin era of communist rule. But a lingering mystery kept Russian émigrés and others whispering for many years after: did one of the Romanov children miraculously survive?
This question — could a waif found in Paris many years after the revolution actually be the Grand Duchess Anastasia? — is at the heart of the musical adaptation of the romantic story previously adapted for the stage, the screen, and even as an animated feature film.
Now playing through October 4, 2026, Anastasia: The Musical at Fauquier Community Theatre elevates this show, which had a decent Broadway run and now has found a home on many school and regional stages, large and small. This production, directed by Camden Gillespie, is highlighted by a strong cast that handles the dramatic and comedic elements of the story with equal skill and breathes vibrant life into the catchy score and lyrics by Stephen Flaherty and Lynn Ahrens.
A word about the composer-lyricist team, Flaherty and Ahrens: There may not be a more flexible musical theater creative team than this dynamic duo. Their music and lyrics for Anastasia are lush and romantic, peppered with clever lyrics and sparkling pastiche numbers that evoke the rich traditions of Mother Russia and the roaring 1920s Parisian nightlife. Their work for Anastasia is even more impressive, by my ears, knowing they also penned the Caribbean rhythms and soulful score for Once on This Island, the whimsical Seussical the Musical, and one of the landmark musical epics of the late 20th century, Ragtime. It should also be noted that their distinguished literary collaborator on both Ragtime and Anastasia was the renowned playwright Terrence McNally.
FCT’s cast is more than up to the task of performing the score, starting with Jennifer Ayers as the amnesiac Anya. Ayers brings stage presence and a smooth, lyrical delivery to her musical numbers, and a palpable believability to the young woman with only a few faded memories to hold on to. From the recurring theme “Once Upon a December” to her Act One finale anthem “Journey to the Past,” Ayers is in fine voice and commands the stage.
As the entrepreneurial comrade who helps groom Anya into becoming Anastasia, only to discover she might well be the lost member of Russian royalty, Noah Sariñana is Dimitry, the street-smart tough guy from Saint Petersburg. Matching Ayers with charisma, Sariñana makes the most of his musical moments, including “My Petersburg” and “Everything to Win.” He shares memorable musical numbers with Ayers — the romantic “In a Crowd of Thousands” — and several with his partner in crime, Vlad, played with comic panache and verve by Ryan Lucius Schaffer.
Schaffer also brings down the house when he duets with the female comic-relief character, displaced Countess Lily Malevsky-Malevitch, who bursts onto the stage with a voice to match, as portrayed by Rachel Donders. “The Countess and the Common Man” features the flavorful pair reminiscing about their youthful days back in Russia before the Bolsheviks took charge.
Donders and Schaffer are also featured, along with members of the singing and dancing ensemble in two of the showstopping musical numbers. Upon arriving in Paris to present their Anya/Anastasia to the imperious Dowager Duchess, Vlad leads Anya and the ensemble in a rousing tap dance number, “Paris Holds the Key (To Your Heart).” Later, Countess Lily takes center stage in a production number celebrating the old days of decadence and ennui, “Land of Yesterday.” As choreographed by Abby Chaumont, these numbers, along with many others, fill the stage with energy and light.
The cast also features two other performers who bring a serious gravitas to the story. The successful revolution placed the power into the hands of the people, and the still-elite intellectual class that put the Russian royal family to death is represented by the unwavering believer in communist ideals Gleb, portrayed with steely resolve and an expansive and operatic voice by Spencer N. Pilcher. Often dour and always on duty, Pilcher’s Gleb could make Javert in Les Misérables seem like a slacker, determined to stop Dimitry and Vlad from pawning off Anya as the lost Romanov daughter. And his vocal power is used to great advantage in his two aria-like moments — “The Neva Flows” and “Still.”
Rounding out the cast is Hilary Pierce as the surviving Romanov family member, the Dowager Empress, Anastasia’s grandmother. In Paris, holding on to the Romanov fortune, the Dowager has held out a sliver of hope that the rumors of her granddaughter’s survival would prove true. But the former empress has grown hard with grief and does not suffer fools who attempt to fool her with imposters. Pierce balances the firm resolve and years of pain with glimpses of her character’s broken heart, bringing out a touching performance.
Working as multiple characters — from sullen comrades barely eking by to impeccably dressed Russian émigrés in Parisian society — the ensemble provides support and colorful characters throughout the production. Young actors Lily Ayers and Lennox Chen alternate and share the roles of young Anastasia and Alexei. Ayers performs September 26 and October 2; Chen takes the roles September 25, 27, and October 3. On October 3, Ayers will be young Anastasia, and Chen will be Alexei. (Additional alternate performers go on depending on the performance; check the company’s website for more details.)
The entire cast is not only aided by Gillespie’s detailed direction and Chaumont’s lively choreography, but also by music director Nick Villacorte, who has used the talented cast of singer-actors to their best advantage. Chaumont also doubles as the lighting designer, adding evocative looks and mood throughout the evening. Keeping the pre-recorded music well-balanced with the vocals can be a challenge, but sound designer Hannah Correll was spot-on.
Last but certainly not least, the magnificent and detailed costumes designed by Cade Mac Aodhagáin are practically worth the price of admission — from peasant wear, austere communist-operative uniforms, stylish 1920s evening wear and — the pièces de résistance — the crisp white costumes and gowns for the Romanov family.
Fauquier Community Theatre’s production of Anastasia may not answer the ultimate question of whether Anya the waif really was the Grand Duchess, but the cast and crew bring the story to life with effortless charm and musical skill and provide a welcome escape into a lost world of romance and intrigue.
Running Time: Two hours and 30 minutes, with a 15-minute intermission.
Anastasia: The Musical plays through October 4, 2026 (Fridays and Saturdays at 7:30 pm and Sundays at 2:00 pm) presented by Fauquier Community Theatre, performing at the Vint Hill Theater on the Green, 4225 Aiken Dr, Warrenton, VA. All tickets ($18 for youth, $20 for seniors, $24 for adults) are for reserved seating. Purchase tickets online.
Programs are available at the performances and here.
Anastasia: The Musical
Music by Stephen Flaherty
Lyrics by Lynn Ahrens
Book by Terrence McNally
Inspired by the Twentieth Century Fox Motion Pictures by special arrangement with Buena Vista Theatrical. From the play by Marcelle Maurette as adapted by Guy Bolton.
