Interview: Scott Stangland Hears Two Magic Words: 'You're On!'

Scott Stangland, the standby for Josh Groban in Natasha, Pierre and the Great Comet of 1812, knew the day would come when he would take over for the star of the show. No one expected that day would come just two days after opening.

Groban had performed in the Wednesday matinee, but would miss the evening performance. In fact, he would need an extended vocal rest.

Stangland took a deep breath. "When I knew I'd be going on that night," Stangland said, "it was pretty thrilling. My adrenalin was really high all through that performance." One night turned into three nights and along the way, Stangland refined his take on the character.

"Last night was much more fluid," Stangland said after preparing to go on again, the third night in a row. "I wasn't flying so high on as much adrenalin," he added. He wasn't completely satisfied with his first time. "I think I played it a little gruff that night," he said.

Stangland knew he was settling in, feeling more comfortable in his role as Pierre, a despondent middle-aged truth-seeker. "I was able to look at my cast mates and enjoy them. I could see more of the picture," he said.

NATASHA, PIERRE and the GREAT COMET of 1812 is a complicated show. Deciphering it may be akin to keeping track of the plot of a dense Russian novel. In fact, the tale of lovers, scoundrels and confidantes has been sculpted by Dave Molloy, based on a portion of Tolstoy's War and Peace. It's an unconventional love story about 19th century Russian aristocrats. It's a breakthrough show, unconstrained by conventional staging, that upends the rules of theater.

This production, directed by Rachel Chavkin, swirls around the audience, some of whom are seated in banquettes on the stage. Chandeliers rise and fall; strobe lights flash. Lighting is by Bradley King. Music director is Or Matias.

About two dozen cast members, including musicians, run, dance and gambol on pathways. They playfully interact with the audience who often look embarrassed but game. Their outfits are awash in gypsy colors or evening attire, a pastiche of thrift store and elegant formal ware. Costume design is by Paloma Young. Walls are covered in red velvet, on which are period paintings. Some tables have lamps that glow and dim. Very Cabaret-ish.

"When I looked around at the audience, yes, I looked out at a bunch of empty seats, but that feeling goes away very quickly," Stangland said about filling in for Groban. "I felt nothing but love coming from the audience.

"One of the greatest things is watching audience members watch the show," he said. "There's a power in sharing an experience as a community.

"Usually in a theater people are in the dark and just watch," Stangland said. Not so here. Lights go on indiscriminately, lighting up the audience.

Spectacularly dressed actors stroll and smile, passing out mini take-out boxes. Others are offered little plastic eggs with beads inside, the better to make noise with. Inside, is ... well, some people might want to be surprised.

Natasha (Denée Benton) is an innocent young woman engaged to Andrey (Nicholas Belton) who leaves to fight in the Napoleonic Wars. Trouble starts when the seducer Anatole (Lucas Steele) aims to steal Natasha's heart. More trouble ensues.

Stangland plays the accordion and piano, brooding about the meaning of life for a good chunk of the 2 hours-40 minutes show. "One of my favorite moments is after the second number when Pierre gets to sit down and put on the accordion and play in the band," he said. "It's a beautiful experience."

Stangland and Groban's performance styles couldn't be more diverse, he said. "We just have such different backgrounds and I know I don't have his golden voice. I lean into that. That's when I felt like I was a little more gruff," Stangland said.

"I think Josh is doing an amazing job," he said. "What we have in common is we share a lot of the joy and raucousness in the party scene." Dance and music figures heavily; one scene takes place at a ball. "Pierre has a little bit in the big number," Stangland said. "He sits in his chair a lot when he's not walking around or running up the path. I'm able to watch the acting."

Pierre often sits at a desk with his accordion over his shoulders right in the front, perfect for those in the orchestra who like to study faces. "Pierre is a seeker, a philosopher. Reading all his books to get at the core of life and it's pretty fruitless," Stangland said of his character. "He drinks because it makes it easier.

"His journey is to find love," Stangland said. "Even though he's in an existential futility. In a loveless marriage, laughed at by his peers.

Stangland is grateful for his stage combat training. "So far I've had no injuries. I'm fight savvy," he said. "Graduate school gave me the opportunity to learn fight choreography. I learned armed and unarmed," he added.

Stangland has no idea where his passion for theater comes from. "It's a mystery to me," he said. "Even my parents said I was shy as a kid growing up." The show has been likened to pop opera, and there are elements of folk, country and electronica throughout.

Stangland played Pierre in Boston before it opened on Broadway after playing at off Broadway's innovative Ars Nova "It was like coming home to me," he said. "Like putting on an old warm coat."

Natasha, Pierre and the Great Comet of 1812 is playing at the Imperial Theater, 249 West 45th Street.