REVIEW: Spotlight ‘Anastasia’ a sumptuous thrill

It was obvious when The Spotlight Theatre opened with its first full production, “The Hunchback of Notre Dame” in October 2018, that its multi-talented owners Sara and Brent Tubbs had no small ambitions.

Taking over the former Scottish Rite Cathedral at 1800 7^th Ave., Moline, the married couple has consistently offered first-class, prodigiously entertaining musical theater, and its gorgeous, spectacular, jaw-dropping latest is no exception.

From the start of this fantastic, fancy feast for the senses, you can easily get swept up in history, romance and adventure in the big musical “Anastasia.”

With music and lyrics by Stephen Flaherty and Lynn Ahrens, and a book by Terrence McNally, the stage musical is based on the 1997 animated film of the same name, and while it has a sprawling cast of 29, director Aaron Baker-Loo keeps the towering tale laser focused on the sympathetic title character.

The show – which is visually and sonically stunning — adapts the legend of the Grand Duchess Anastasia Nikolaevna of Russia, who was rumored to have escaped and survived the execution of the Russian Imperial family. The youngest daughter of Tsar Nicholas II, in real life she was killed with her family by Bolsheviks at age 17 in 1918.

In “Anastasia,” several years later an amnesiac young woman named Anya hopes to find some trace of her past by siding with two con men (Dmitry and Vlad), who want to take advantage of her resemblance to Anastasia by presenting her to the Grand Duchess’ paternal grandmother, Dowager Empress Maria Feodorovna, in Paris.

At Spotlight, there are three girls playing Anastasia at different ages – 6, 17 and 26. The outstanding Claire Sattler (a 2023 Iowa State University grad) has by far the most stage time as the adult Anastasia, who later goes by Anya, and is trying to discover her identity.

Kicking off in 1906, the bulk of the story takes place in the 1920s, and the musical (with pre-recoded orchestral tracks) includes flavors of Parisian and Russian folk styles, plus standard Broadway musical theater.

Sattler (who was briefly was a Circa ’21 Bootlegger late last year) displays a preternatural poise, maturity and calm as our protagonist, and a gloriously strong, shining singing voice, including the standout songs “In My Dreams,” “Journey to the Past,” and “Crossing a Bridge.”

Sattler shares great chemistry with her eventual romantic interest, Caleb Swinney as the idealistic Dmitry. Swinney has been notable in recent area productions of “Sweeney Todd” (Anthony), “SpongeBob” (Plankton) and “Spring Awakening” (Melchior). The two combine for some very nice harmonies in “Anastasia.”

Chris Tracy is characteristically solid as Dmitry’s sidekick, Vlad, and he rekindles his own romance in the second act with the dominating powerhouse Kat Jecklin (in her Spotlight debut) as Lily. At the close of their charming waltz, “The Countess and the Common Man,” they have a cute kiss and Tracy lifts his leg as a lady typically would in that old-fashioned moment.

The Act II “Swan Lake” ballet scene is an elegant, sumptuous thrill. Choreographer Ellie Allen is also making her Spotlight debut, and she’s danced at a ballet company in Brazil. She is beautiful as a dancer in this scene, as the pivotal black swan. Other delicate dancers are Dorothy Turner as the white swan, plus Melodie Hoffman, Marissa Pedersen, and Christianna Crosby.

Spotlight veteran (as both director and actor) Noah Hill is a magnetic, powerful presence as the dark, tormented Gleb Vaganov, a general for the Bolsheviks who now control Russia. He announces that the now-poor Saint Petersburg has been renamed Leningrad.

Hill’s highlights include “The Rumors Never End” and “Still” in Act I.

Another imposing, crucial performance is delivered by Dolores Sierra as the bitter, mourning Dowager Empress, who doubts Anya is really Anastasia. She lost everything she loved and demands to know who Anya is.

The show’s tremendous impact is heightened by a variety of dramatic, colorful lighting (designed by Brent Tubbs), rear screen projections, and amazing, often formal costumes (done by Heather Blair, a self-taught seamstress designing her ninth time for Spotlight costumes).

The white outfits of the Romanov family are especially impressive, as are Sattler’s sparkly blue gown with white gloves, and a regal red and white gown, both in the second half.

The massive, triumphant waltz at the end truly puts the “grand” in its grand finale. Kudos also due to music director Laura Hammes (in her second Spotlight show) for preparing the epic musical’s 32 numbers with such care, grace and heart-pounding emotional force.

This “Anastasia” is one to luxuriate in, like a soothing bubble bath, and not to be missed.

Performances continue at 7 p.m. Friday and Saturday (April 19-20), and 2 p.m. Sunday (April 21). Tickets are $20 or $25, available HERE.

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