Natasha, Pierre and the Great Comet of 1812
My thoughts on Natasha, Pierre and the Great Comet of 1812 or…close encounters of the Russian kind.
I have been eagerly anticipating the musical Natasha, Pierre and the Great Comet of 1812 in DFW, and Theatre Three has delivered a grand, lavish production of Dave Malloy’s magnum opus based on a segment from Tolstoy’s War and Peace that is both visually and vocally breathtaking.
As you step into the theater, the lavishness of Scenic Designer Jeffrey Schmidt's set immediately captivates you. The grand sheer red curtain, the rotating pedestal settee, and the stunning chandelier exuding a Spielberg-esque aura, all contribute to the enchanting atmosphere. The addition of cafe tables for two within the performance area lends an intimate touch to this grand musical, ensuring the narrative remains engaging and personal.
Director Ashley H. White's production of Comet radiates the grandeur of the era that the aristocracy enjoyed. Jessie Wallace's exceptional costumes rank among the finest in DFW, and her occasional use of anachronistic attire cleverly hints at the musical's timeless love story, transcending any specific era or location. Lighting Designer Aaron Johansen frequently immerses the stage in a romantic pink hue, accentuating the beautiful and sometimes playful choreography of Dr. Danielle Georgiou, and Johansen's lighting design for the comet is stunning. The production probably featured hundreds of lighting cues, with Director White skillfully coordinating the appearance of characters all around the arena. It's quite a spectacle to see the characters emerge, sometimes right beside you.
The play features an array of characters with complex Russian names. A friend who attended the Broadway production mentioned needing a scorecard to track the characters. While it's not that extreme, even after researching the play beforehand, I found myself confused a few times. (I am including a link to the Wikipedia notes on the show if you want an in-depth explanation of the characters and plot) Nonetheless, this did not diminish my enjoyment of the musical in the slightest. Director White maintains such a brisk pace throughout the play that there's never a dull moment, keeping the audience completely engrossed in the sung-through musical.
Music Director Scott A. Eckert has the voices and music of Comet soaring. The band's performance is exceptional, and several of the multi-talented cast members contribute by playing instruments, enriching the arena with Malloy's infectious pop score.
And those voices. White and Eckert have assembled a cast of powerhouse singers unlike any I have witnessed in a single production before in DFW. So much talent.
Ian Ferguson leads the cast as the affluent, ennui-ridden, occasionally inebriated, and perpetually contemplative Pierre, trapped in a joyless marriage with the vivacious, enticing, and blatantly adulterous Helene, portrayed by Laura Lites. Bella Zambrano embodies the youthful, naive, passionate, and resolute Natasha, betrothed to the absent, war-engaged Andrey.Sinclair Freeman portrays the disenchanted Andrey as well as his father, Prince Bolkonsky, an aging and slightly senile nobleman. The elderly prince is looked after by his daughter, the solitary Princess Mary, enacted by Emily-Arden Seggerman, who harbors a dislike for Natasha. Laila Jalil plays the loyal Sonya, Natasha’s cousin, akin to a sister, and utterly devoted to her. Natasha’s affluent and stylish godmother, Marya, a confidante of Pierre's, is brought to life by Brett Warner, who is intensely protective of Sonya. Nick McGeoy is the charming womanizer Anatole. Anatole, brother of Helene, although married, becomes obsessed with seducing Natasha. The cunning and unabashed Dolokhov, portrayed by Kevin Solis, is Anatole's closest companion. He engages in an affair with Helene and brazenly displays it. The wild and reckless Balaga , portrayed by Laura Leo Kelly, is the heavy drinking troika driver for Anatole and Dolokhov, reveling in their companionship. The one-man ensemble for Comet is Colin Phillips, whose remarkable, soul piercing voice resonates throughout the arena.
I can’t state enough how phenomenal the singers are in Comet. These borscht balladeers can really belt, and Nick McGeoy hits notes I’ve never heard before.
White and Eckert’s Natasha, Pierre and the Great Comet of 1812 is a unique theatrical experience. I was joyfully lost in the world of Natasha and Pierre. It’s sumptuous and enthralling. Point your troika toward Moscow.
Photos by Kris Ikejiri
