A musical version of War and Peace isn’t the best selling point. Tolstoy’s tome is a massive masterpiece of Russian literature. That may not sound the most delightful stage adaptation, but in Dave Malloy’s Natasha, Pierre and the Great Comet of 1812, he pared the task down, took about 70 pages of the book and turned it into a theatrical experience that doesn’t weigh as heavy as the source material. Theatre Three continued its season by opening the show that was uproarious from its opening number and delivered a fresh and feisty musical that wasn’t always easy to follow, but still satisfied in all its gorgeous splendor.
Set in 19th century Moscow, the theater was fully decked out in a lush design and many moving parts by Jeffrey Schmidt that filled every pocket of space in the mainstage up to the ceiling. Immediately, the show expressed its immersive effect not just with its design, but with tables onstage to transport audience members (like myself) into the cabaret-esque revelry. As the large cast exploded the energy onstage with the opening number, they handed out information sheets that gave a breakdown of the show and characters.
Be sure and get one to keep up with the fast-paced narrative. I missed out on snagging one so pardon this summary.
There’s a young woman named Natasha who’s engaged to a guy named Andrey who disappears for a big chunk of the play. She’s beguiled by the roguish Anatole but her godmother Mayra doesn’t seem to be the biggest fan. The older Pierre struggles with his own marriage and then in some epiphany begins crushing on Natasha. And there’s a comet.
Truly – that’s the best I can do because the show was an onslaught of music, dialogue and characters that distracted from following the narrative. Ashley H. White’s direction, characterized by a trust in the story and a sense of controlled chaos, guided the narrative in a way that echoed her earlier work “Imposter! Hypocrite! Tartuffe!” at Circle Theatre this year. Both productions feature a multitude of key characters that ultimately find their place under White’s sharp direction.
The exciting aspect of Malloy’s piece was the music mixtape of sounds he employed. The anachronistic soundtrack was a mix of rock, electronica, folk music and pop ballads that all fit into their track listing beautifully. Scott A. Eckert’s versatile music direction along with the onstage band, which some actors also played in, delivered a top-notch accompaniment to the action surrounding the audience. The in-and-out of the actors turned musicians was always a thrill as they would shift gears to the drums or switch out with Eckert’s home base of the piano like no big thing. Of particular note was Nini Rubiano’s cello playing which added such pristine drama.
To match the show’s tone and music, Danielle Georgiou’s choreography was equally exciting and complex particularly among the number of characters.
The entire cast delivered lively performances that captured the show’s energy. Bella Zambrano’s Natasha was a standout with her enchanting vocals, while Brett Warner’s Mayra was served up a deliciously campy portrayal. Nick McGeoy excelled as the charming Anatole with a smug undertone but had ideal romantic lead vibes. Ian Ferguson was a perfect fit for the brooding Pierre who brought a raw intensity to his musical numbers. Also, the dude played like four or five instruments throughout the show.
Sinclair Freeman delivered a remarkable performance, portraying both the Old Prince and Andrey with impressive gravitas. His physicality was especially noteworthy in the role of the elder character. Kevin Solis, as Dolokov, commanded a solid presence while Laura Lites was fabulous as Helene, embracing the character’s sexual empowerment with confidence. Laura Leo Kelly’s portrayal of Balaga was joyous and brimming with infectious energy.
The cast also included Laila Jalil as Sonya, Emily-Arden Seggerman as Mary, Colin Phillips in the ensemble and musician and Peri Zachmeyer as understudy.
The dazzling production and immense talent of Natasha, Pierre and the Comet of 1812 should provide an astonishing thrill, regardless of your ability to follow the plot. It’s a love story so we know how those work. But beyond that, this sexy and thrilling musical drama is a rollercoaster ride of music and drama.
The show runs through Dec. 29.
–Rich Lopez