The Cape Playhouse’s production, on stage through August 2, does exactly what live theater should do—take its audience to another place and time.

The show opens in 1907 with the young Grand Duchess Anastasia Nikolaevna of Russia (Alex Caldwell) and her grandmother, the Dowager Empress Maria Feodorovna (Christine Toy Johnson). Maria is leaving for Paris and gives Anastasia, her favorite grandchild, a music box as a parting gift. Promising Anastasia they will be together soon, the two sing the sweet “Once Upon A December.”

Not long after Maria’s departure, the entire Romanov family is executed by the Bolsheviks.

Fast-forward 10 years and the action moves to Leningrad, formerly St. Petersburg, where, despite greetings of “comrade,” times are hard.

A pair of conmen, Dmitry (Dominic Dorset) and Vlad (Erik Lochtefeld), hear the rumor that Anastasia survived the assassination of her family and that her grandmother in Paris is offering a hefty reward for the girl’s return. Hoping to cash in, the pair start interviewing possible Anastasias with little luck until they meet a street sweeper named Anya (Kyla Stone) who initially approaches Dmitry as someone who might be able to forge her the necessary papers to leave the country. Anya has no memory of her past except for a vague recollection that someone is waiting for her in Paris.

In an effort to remake her as Anastasia, Dmitry and Vlad begin teaching Anya the history of the Romanovs along with lessons in poise and etiquette, “My-Fair-Lady” style.

Anya turns out to be a quick study. The threesome’s “You Can Learn To Do It” is a hopeful, spirited romp and soon the trio are off to Paris, deftly jumping off trains and escaping the authorities, namely the son of one of the soldiers who assassinated the Romanovs, Gleb Vaganov (Roe Hartrampf), who now holds a position of authority among the Bolsheviks.

Will Gleb catch Anya? Will the Dowager Empress accept her?

Spend an evening at Cape Playhouse and find out.

As Anastasia, Kyla Stone has a winning smile and a soaring voice that carried throughout the theater. Her character’s toughness masks an insecurity that comes with not knowing who you are.

As Dmitri, Dorset talks tough but soon develops a soft spot for Anya, evident when they both talk about their difficult upbringing; both in essence raised themselves. Their song “My Petersburg” conveys emotion and longing. Part of his role as Dmitri is to make Anya shine; this Dorset does well.

Little more than a sidekick in act 1, Erik Lochtefeld’s Vlad comes into his element in act 2 when the trio arrive in Paris and he is reacquainted with old flame Countess Lily Malevsky-Malevitch (Kate Marilley). He attempts to rekindle the fire and she quickly acquiesces. The pair are well suited for each other. Their duet, “The Countess And The Common Man,” was lively and enjoyable.

“Land of Yesterday” with Lily and the ensemble shows off both Marilley’s vocal chops and her stage presence. Other scenes highlight her comedic talents.

Gleb is stern and determined. Hartrampf plays him not so much as menacing but as stubborn and devoted to his cause, determined to be his father’s son.

Christine Toy Johnson’s Dowager Empress also commands the stage. The audience was spellbound and silent when Johnson’s Dowager Empress and Anya/Anastasia finally have a sit-down in act 2.

Projected images behind a proscenium arch serve to inform the audience of where we are, from St. Petersburg in 1907 to Paris in the 1920s. The projected imagery also lets us know that it’s frequently snowing in Russia.

The nine-piece orchestra was seated at the back of the stage, behind the action.

There are several wonderfully choreographed moments in the show, notably the train sequence and song, “We’ll Go From There” in act 1, where the cast’s clever use of suitcases and benches are used to show motion, and the ballet in act 2 when the principal characters weave in and out of beautifully outfitted, dancing ballerinas.

 

The dancing is also outstanding. The opening of act 2, when we are first introduced to Paris (“Paris Holds The Key”), was especially enjoyable.

Cape Playhouse artistic director Eric Rosen directs this practically flawless show.

If you’ve never been, the Cape Playhouse is a charming old theater (formerly a meetinghouse) with an outdoor patio and concession stand, and lovely grounds that include a gingerbread-style gazebo. The playhouse will celebrate its 100th anniversary in 2027.

 

“Anastasia” is a magical night on the mid-Cape. Performances are Mondays through Saturdays at 7:30 PM, with matinees on Wednesdays and Thursdays. The closing performance on Saturday, August 2, is at 4 PM.