Johnstown dinner theatre closes its 17th season with an opulent, sophisticated musical.

On June 26, I made the drive up to Johnstown — no, not to visit the Buc-ee’s, but to check out one of the last standing dinner theatres in the country: Candlelight Dinner Playhouse.

Following a stunning production of Bright Star earlier this year, I was curious to see how the company would close out its 17th season. Candlelight’s latest offering, Anastasia, is a sumptuous, sweeping musical journey that straddles the line between a princess tale and a political thriller. While the musical isn’t perfect, the production delivers a dazzling night of theater that doesn’t talk down to its audience, little girls in plastic crowns that the theater sells included.

Adapted from the 1997 animated film, which is now technically a Disney property since the Fox acquisition, Anastasia follows Anya (Katie Stone), a headstrong young woman with amnesia, on her journey to uncover her past in the wake of the Russian Revolution.

With help from two charming con men, Vlad (Scott Severtson) and Dmitry (Jazz Mueller), Anya travels to Paris to meet the Dowager Empress (Tracy Warren), who may or may not be her grandmother. But standing in her way is Gleb (Jerod Mose), a Soviet officer whose father helped execute the Romanovs and who is determined to silence any threat to the regime.

Featuring music by Stephen Flaherty, lyrics by Lynn Ahrens and a book by Terrence McNally, the Broadway musical adaptation shakes off the magic of the original film (bye-bye, Rasputin) in favor of grounded political conflict and emotional realism. It’s an ambitious pivot, but one that comes with some narrative clunkiness, especially in Act I, which is heavy on exposition and slow to find its footing. Thankfully, Act II picks up significantly, as all the characters are in place and the show fully leans into its lush period settings and genre-shifting tone.

Vlad (Scott Severtson), Anya (Katie Stone) and Dmitry (Jazz Mueller) | Photo: RDGPhotography

Epic scope

Candlelight’s production, under the direction of Shelly Gaza, embraces the show’s epic scope with a lavish aesthetic and large, dynamic cast. Gaza, who previously helmed The Secret Garden for the company, handles the sizable ensemble well — 17 adults and two rotating child actors — and makes mostly effective use of Candlelight’s expansive stage. The prologue scene felt a bit static, but it quickly gave way to a chilling staging of the Romanov assassination, portrayed through movement and evocative lighting in one of the evening’s most haunting moments.

On the technical side, the production shines. Deborah Faber’s costume design is a standout: from ragged peasant garb to ornate Parisian gowns, every piece feels deeply considered and beautifully constructed.

Kate Vallee MacLaren’s choreography smartly incorporates historically grounded dance styles, including Russian folk, ballet and swing, to reflect the diverse worlds the story travels through. The sequence, “Quartet at the Ballet,” which interweaves moments from Swan Lake with the central narrative, is a particularly striking piece of choreography. MacLaren even sneaks in a tap number in “The Press Conference,” adding some needed levity after Act II’s dramatic beats.

And music director Katie Hughes leads a nine-piece orchestra that punches well above its weight, skillfully filling out the Broadway orchestrations and providing seamless underscoring during transitions.

Dowager Empress (Tracy Warren) and young Anastasia (Khole Trainor/Maggie Cao) | Photo: RDGPhotography

Solid cast and ensemble

The cast is solid across the board, with several clear standouts. Scott Severtson brings commanding comedic energy to Vlad Popov, the lovably roguish ex-aristocrat who masterminds the scheme to pass Anya off as royalty. His chemistry with Sara Kowalski’s delightfully haughty Countess Lily is electric, especially during their charming duet “The Countess and the Common Man.” Kowalski is an equally magnetic presence on stage—she’s flamboyant, physical and hilarious, all while bringing a rich layer of emotion and gravitas beneath the comedy.

Another highlight is Jerod Mose as Gleb Vaganov. With his booming voice and intense stage presence, Mose brings real weight to the show’s antagonist. Gleb isn’t a cartoonish villain — he’s a man caught in a moral crisis, rendered with nuance by Mose. His performances in “The Neva Flows” and “Still / The Neva Flows (Reprise)” are both vocally thrilling and emotionally resonant, offering one of the most complex portrayals of the night.

As Anya, Katie Stone delivers a poised and spirited performance. She brings grit and physicality to the role, especially in scenes where Anya defends herself or challenges others. Her voice is lovely, although on the night I attended, unfortunate microphone issues plagued her first few scenes and muted her big solo, “In My Dreams.”

Stone recovered beautifully later in the show, particularly during the soaring “Journey to the Past,” which she performed with grace. Her chemistry with Jazz Mueller’s Dmitry, however, is more friendly than fiery. Mueller has a clear voice and handles his solo “My Petersburg” with aplomb, but the romantic tension between the two leads never quite clicks. Their bond feels more platonic than passionate, which slightly undercuts the emotional payoff in the final scenes.

As the Dowager Empress, Tracy Warren gives a restrained and elegant performance, layered with pain and pride. Her Act II confrontation with Anya is one of the show’s most powerful moments.

The ensemble deserves praise as well — they shift effortlessly between roles, from street vendors to aristocrats to ballet dancers, always fully engaged and contributing to the world of the play. It’s their committed performances that make rowdy group numbers like “Paris Holds the Key” and “Land of Yesterday” shine.

Of course, this is Candlelight Dinner Playhouse, so the experience isn’t just about the show. Patrons are treated to a full dinner service before the curtain, with optional dessert at intermission. On theme with the show’s Russian setting, I opted for the beef stroganoff, which was tender, flavorful and served alongside fresh green beans and salad. I skipped dessert, partially in solidarity with the revolutionaries. No cake for me!

Despite some early hiccups and a slightly overlong runtime, Anastasia is a deeply enjoyable evening of theater. It’s funny, moving and surprisingly politically sophisticated for a family musical. And in a cultural moment defined by uncertainty, a story about rediscovering identity and reclaiming history