Natasha, Pierre and The Great Comet of 1812
This show could be described as a one man masterpiece as the music, lyrics and book have been created solely by Dave Malloy.
Natasha, Pierre and the Great Comet of 1812 (also known as The Great Comet) is a 2014 musical which had its big Broadway debut in 2017 and is now gracing the stage at the Donmar Warehouse in London.
This epic tale of destruction and reconstruction is a great example of how artistic and creative theatre can be, showcased excellently by a highly talented cast of performers. However, are the general public ready for this intense retelling of War and Peace?
This current version has been directed by British theatre luminary Tim Sheader, whose name you may recognise from his previous residency work at Regents Park Open Air Theatre from 2007 until this year.
Following in the footsteps of Schoenberg’s Les Miserables, with his infamous musical adaptation of the novel by Victor Hugo, composer and writer Malloy has crafted this (almost entirely sung) stage version based on a portion of the highly acclaimed 'War and Peace' by Leo Tolstoy.
By choosing to depict a section rather than the entire novel, not only does it save the audience from a lengthy, drawn-out or rushed show, instead it focuses on a significant and poignant part of the book.
We follow the life of Natasha (Chumisa Dornford-May) and the loss of her innocence when she falls in love with a wildly charming yet capricious man in leather trousers (Jamie Muscato) despite being engaged to be married. The tragic tale of the Russian girl and her path to ruin is contrasted overtly by a mature Pierre’s eventual enlightenment yet it’s clear both characters have a burning desire for what’s missing in their lives. At first it’s difficult to see how the pair connect however it wraps up pleasingly in the end as we untangle their unlikely friendship and notice how they both share passion, despair and a craving for love.
In the programme, writer Malloy shares that he ‘connected to Pierre’s loneliness’ and thus, the inspiration from this deep understanding spawned the desire to compose The Great Comet. This deep connection to the lead character, who he played himself alongside Phillipa Soo in the first run of the show in 2014, partnered with the stunning portrayal by Declan Bennet is probably why the role of Pierre blazes through as a standout.
Malloy’s musical score boasts unique chromatic motifs between tension invoking dissonance. If you imagine if Les Miserables was combined with Hadestown then rewritten by a Russian punk-rock band, it still wouldn’t come close to describe the eclectic style of The Great Comet.
Interestingly, the whole piece is self narrated by the actors, often relaying their actions through song in third person. What could appear to be annoying, in fact adds another dynamic and spritz of comedy. The onstage band seamlessly play a score full of high energy, erratic rock outbursts which are swiftly followed by soft, haunting melodies that you’ll catch yourself humming in the interval.
The set is grungy and industrial which matches the overall angsty essence well.. We are initially met with a large letters spell out M-O-S-C-O-W, with which one O promptly rise as we witness it shift up to be used to illuminate the stage for the remainder of the show. I particularly enjoyed the lighting throughout. Simple (yet effective) saturations of colour by lighting designer Howard Hudson and team kept the minimalistic stage design feeling fresh.
The costumes by Evie Gurney are a varying mix defining each character. The traditional 19th century has been royally shaken up in this rendition of The Great Comet by the addition of acid punk clothes and accessories in a modern, edgy spin. Gurney has given every role an individual look, accentuating their own personality.
As Natasha, Dornford-May is a dynamic force. She delicately delivers her grand solo ’No One Else’ with her relatable modern mannerisms and doe-eyed purity yet shows a bold strength, beyond her years, throughout. Equally, Declan Bennet features his smooth, silky vocals in his time onstage as Pierre. He showcases a wide range of emotions and captivates the audience like the true theatre veteran he is.
Other noteworthy performances include Chloe Saracco, who is certainly one to watch! Her crisp, clear tone no doubt will grace many a West End stages in shows to come.. and Jamie Muscato is as vibrant as ever with his character take on the carefree and alluring Anatole.
Not forgetting Eugene McCoy who proves to be amazing in both of his roles, especially Prince Bolkonsky, the drunken, eccentric father of Mary. His hilarious characterisation and quality vocals made for choice viewing.
With such a strong cast it’s hard not to mention everyone individually as each part is integral to the success of this show. Thankfully most of the cast get a solo of their own to shine in. They all seemed to steer sensitively through delicate themes such as drug use, jealousy, adultery and death.
A clearly high calibre creative team made up of names such as Ellen Kane as choreographer, Sam Young as Musical Director, Pippa Ailion as Casting Director and Nick Lidster and Gareth Tucker for Autograph as Sound Designers all make for a slick production.
The entire ensemble navigate the intricate score extremely well; with the whole cast providing quality singing and acting throughout. A few tentative high notes bounced around at points, however were overshadowed by the majority of stunning vocals.
During the show we see devastating despair from the two leads, both in very different parts of their life. The destruction of one (initially optimistic) life and the rehabilitation of another leaves us with a bittersweet but hopeful ending as we are left with a literal ‘light bulb moment.’ The storyline accentuates the turmoil that love can put us through and leaves us questioning if it really is as simple as good vs evil.
It’s no surprise that this show was nominated for 12 Tony Awards for its Broadway run - let’s hope it can share the same success in London! It’s currently playing at the Donmar Warehouse until 8th February 2025.
All in all, it’s a wonderfully directed piece with subtle sophistication, high class performers and gorgeous vocals. I mean, what more could you want from a musical theatre show?
This show was reviewed on the 17th December 2024 at the Donmar Warehouse, London where it runs until the 8th February 2025. Tickets available here: NATASHA, PIERRE & THE GREAT COMET OF 1812 — MUSIC, LYRICS, BOOK & ORCHESTRATIONS BY DAVE MALLOY | Donmar Warehouse
Review written by Lauren Atkinson
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Photo credit: Johan Persson
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