Review: NATASHA, PIERRE AND THE GREAT COMET OF 1812 at Writers Theatre

Writers Theatre’s production of NATASHA, PIERRE AND THE GREAT COMET OF 1812 is inventive, glamorous, and tightly executed — no small feat for Dave Molloy’s complex and unique musical. Director Katie Spelman’s 13-member ensemble is likewise chock full of powerhouse performers. Particularly when it comes to the vocals, this cast is reaching — and finding — their way to the stars. 

Based on a section of Tolstoy’s WAR AND PEACE, GREAT COMET is a highly original and creative musical that’s almost entirely (and delightfully) sung through. Molloy’s score is no easy task for the ensemble, weaving between various musical styles and influences — sometimes at breakneck pace. While GREAT COMET’S plot is rather loose, it involves the antics of young, naive Natasha in Moscow, Russia — contrasted by the more somber, introspective actions of Pierre, best friend of Natasha’s fiancé Andrey. But, as the opening number tells us, “Andrey isn’t here,” leaving Natasha vulnerable to the flirtations of the slimy Anatole and his scheming sister Hélène, who’s married to Pierre. As Natasha and Pierre interact with other friends and family members, lots of big emotions and ennui follow. Brilliantly, Molloy uses a chamber theater style for much of the storytelling. The characters often describe how they’re feeling in the third person and directly address the audience. Rather than feeling like a variation on “telling, not showing,” it’s a charming and smart narrative device that makes these characters’ inner feelings outwardly facing. 

GREAT COMET’s greatest strengths lie in the fanciful way in which Molloy tells the story. While I didn’t think the story or characters themselves are the most creative — namely because the characters fall into archetypes, as befits the source text — Molloy’s unique presentational style and score bring it to vivid life. 

Of course, it’s immensely helpful, too, that the deck is stacked when it comes to this cast. Under the music direction of Matt Deitchman, the GREAT COMET ensemble delivers some of the most stunning harmonies I’ve heard in a long time. From the moment Matthew C. Yee delivered the opening notes of “Prologue,” I was hooked. And the other 12 actors also rose to the occasion to deliver the frenetic, lyric-packed opening number that introduces the characters in a “12 Days of Christmas” style-flurry. The second act opener “Letters” is also a real showpiece. Vocally, this cast never misses. Both act openers also have a particular tongue-in-cheekness to them that’s clever and welcome. 

While the ensemble numbers are divine, some of the solos and duets are likewise incredible. As Hélène, Bri Sudia is an undisputed star of this production. She has a grandiose, humorous presence, and she absolutely nails her solo “Charming,” in which she encourages the susceptible Natasha to give into Anatole’s advances. It’s a magnificent feat of character acting...and then Sudia wraps it up with her jaw-dropping belt. Bethany Thomas also delivers on the power vocal front as Marya D, Natasha’s “old-school” godmother. Other highlights include Natasha (Aurora Penepacker) and Mary (Julia Wheeler Lennon) vocally dueling it out in “Natasha and Bolkonskys,” in which Natasha receives a chilly welcome at her future in-laws’ home. Penepacker has a Disney princess-like crystalline soprano; she has mastered the soaring vocals and sweet tone that befit a naive young woman. She’s easily matched by Evan Tyrone Martin as Pierre. Martin’s grounded but powerful presence is a welcome and easy fit for the role. Joseph Anthony Byrd’s Anatole is delightfully slimy. And Jonah D. Winston supplies his signature humor and deep, majestic vocals as Balaga, the famed Troika driver. Andrew Mueller, Sophie Grimm, Will Lidke, Rob Lindley, and Maya Rowe skillfully round out this cast of star players. 

GREAT COMET is also visually spectacular. Courtney O’Neill’s scenic design is elegant and creative, Raquel Adorno’s costumes send up 19th century Russia but also have modern details like glitter and sequins, and Yael Lubetsky’s lighting design underscores the atmospheric shifts between numbers. In addition to the beautifully sung and played score, Eric Backus’s sound design and Ethan Deppe’s electronic music design give the production a BIG sound in the intimate Writers Theatre space. 

It’s a joy to experience GREAT COMET end-to-end, and for musical theater lovers that want to hear a complicated score flawlessly performed, this is the ticket. This GREAT COMET soars.

NATASHA, PIERRE AND THE GREAT COMET OF 1812 plays at Writers Theatre, 325 Tudor Court, Glencoe, IL 60022, through November 3, 2024.

Photo Credit: Liz Lauren

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