Review: 'Natasha, Pierre and The Great Comet of 1812' on Broadway

"There’s a war going on out there somewhere and Andrey isn’t here
And this is all in your program you are at the opera
Gonna have to study up a little bit if you wanna keep with the plot
Cuz it’s a complicated Russian novel everyone’s got nine different names
So look it up in your program
We’d appreciate it, thanks a lot" - Prologue of 'Natasha, Pierre & the Great Comet of 1812

Broadway, NYC - So I had gotten my tickets for ‘Natasha, Pierre & the Great Comet of 1812’ before all of the “Who will play Pierre?” hoopla. I frankly did not care who was going to play any of the roles at the Saturday matinee that I could attend; I was more concerned about the location of the seats for our party of three (including one elderly theatre lover.) I found that Playbill had posted a fine guide to choosing where to sit at this reincarnation of the Imperial Theatre and I used it. I wanted to experience the production that I had heard so much about, mostly positive but some negative, and I was thrilled to secure two seats in the front row of the orchestra and one bar stool seat for the youngest member of the party.

Then the controversy began about Mandy Patinkin joining the cast in the role of Pierre and for a few days we believed that we might get the chance to see this Broadway legend return to a Broadway stage. Unfortunately, this was not meant to be. Sadder still is that ‘The Great Comet’ will now be closing on September 3 and that is a shame, for this is a magnificent production like no other.

To see the network of curved paths that make up the unique set used to perfection is almost breathtaking in nature. Add to this the spectacular Russian-inspired costumes up close and personal, actors playing instruments live on the stairs in harmony with the pit musicians in various locations led by a fearless conductor, and the most brilliant lighting design I have ever seen on Broadway. It was a musical that you don’t simply attend. You experience it because you are immersed in the action, even if you sit up in the balcony. The ensemble members and the leads mingle with the audience and even sit in pre-selected seats as they sing through the two hours. And the music...ah, the beautiful music. I have already downloaded the original cast album.

At the matinee we saw the beautiful Denee Benton* in the role of Natasha, Brittain Ashford* as her cousin Sonya, and Courtney Bassett was replaced by Gelsey Bell* who had originated the role of Princess Mary at Ars Nova. She also covered the roles of an opera singer and a maidservant. Nicholas Belton* played Andrey and Bolkonsky. Nick Choksi* was Dolokkov, Amber Gray* was Pierre’s wife Helene, and Grace McLean* was Marya D. Paul Pinto* played Balaga/Servant/Opera Singer and Lucas Steele* was the vain and handsome Anatole. And “what about Pierre?” Scott Stangland did wonderful work in the role because he won the Best Actor IRNE Award for his portrayal at the A.R.T. incarnation of this show. Actors marked with an asterick* can be heard on the original Broadway cast recording.

The music is at times Russian folk song inspired, at times almost operatic and mostly very difficult to describe. Listen to the soundtrack to hear what I mean. All of it is performed to perfection by the talented cast, who at times are standing right next to you. Sometimes it was very loud and there was liberal use of strobe lighting for one number, but it always made sense. Egg shakers, a tiny percussion instrument, were passed around in baskets so that audience members could play along on the Balaga number and we got to take them home. The basket that was passed near my son seated on that bar stool was emptied before it got to him; the irony that he was the only actual percussionist in our group was not lost on him. However, he did get to pass a letter down the line of folks seated at the bar to Natasha during the second act opener “Letters” and my aunt was handed a tiny letter marked with sealing wax during the same number. And when that comet came down, wow.

I will reiterate my disappointment that this unique work of Dave Malloy will close on September 3 and I look forward to a touring company production, although it will not be the same in a traditional theater arrangement. I would not hesitate to see it in any venue.

‘Natasha, Pierre and the Great Comet of 1812’ is adapted from Volume 2, Part 5 of War and Peace by Leo Tolstoy but I managed to follow along with only a bit of research. The music, lyrics, book and orchestrations are by Dave Malloy. Choreographed by Sam Pinkleton, Scenic design by Mimi Lien, Costume design by Paloma Young, Lighting design by Bradley King, and Sound design by Nicholas Pope. The orchestra was conducted by Rick Hip-Flores and the outstanding cast was directed by Rachel Chavkin.