Review: NATASHA, PIERRE & THE GREAT COMET OF 1812, Donmar Warehouse

“Nothing is trivial, and nothing is important, it’s all the same." Conflict rages around the world, and yet normal life (with its requisite anxieties) is expected to go on regardless. This is the situation in which Tolstoy’s War and Peace characters find themselves; the Napoleonic Wars continue, but high society and family dramas will never rest.

First staged in 2012 (leading to a Broadway run in 2016), Natasha, Pierre & The Great Comet of 1812 focuses on a section of the epic novel - beginning with newly-engaged Natasha Rostova arriving in Moscow to visit her godmother, and culminating in the initially disillusioned Pierre experiencing a moment of enlightenment courtesy of the sighting of a comet. There has been a propensity for recent stage adaptations to try and squeeze every last part of a book, film or person’s life in, resulting in bloated and unfulfilling productions.

Thankfully the same cannot be said of The Great Comet; there is just the right amount of plot in this section to enable a thorough exploration of narrative and character, before coming to a satisfying conclusion. And if you don’t shell out for a programme, the prologue does a pretty neat job of laying the groundwork: each of the main characters are introduced in a song so catchy you’ll still be humming it at the end of the show.

Leslie Travers’ set design is minimalist in nature - the main feature being ‘Moscow’ almost spelled out across the back wall - and Evie Gurney’s costume design showcases a modern twist on 19th century Russian attire. These visuals work well with Malloy’s magpie score, which brings all manner of anachronistic influences alongside a Russian folk music style. Sometimes this kind of approach can feel a bit confusing or destabilising, but in this instance it works wonderfully in demonstrating the timeless nature of the story and its themes.

A stellar cast has been assembled for this much-anticipated London run, and performances are incredibly strong across the board. Jamie Muscato as Anatole flirts with the entire audience as if his life depends on it (and seems to have the time of his life doing so), although Cat Simmons gives him a run for his money as his sister Hélène. “Sonya is good” and in the wrong hands could potentially come across as a bit of a drip, but Maimuna Memon’s portrayal is full of heart, conveying a hidden strength in her bid to protect Natasha.

Chumisa Dornford-May takes Natasha on a journey from bright-eyed innocence to world-weary despair, in an engaging performance with vocals to die for. Pierre’s trajectory takes him in the opposite direction, and Declan Bennett presents this perfectly with the most subtle of alterations in his body language - to end with such a feeling of hope after feeling so shut off at the start is nothing short of compelling.

Though idiosyncratic in style, this only serves to make the show more intriguing - and, despite the initial warning about its complex nature, it’s not too difficult to follow at all. The heady mix of ballads and uptempo numbers, not to mention drama and comedy, in the relatively intimate environment of the Donmar makes for a unique musical theatre experience. Tickets may have already sold out, but I have to recommend getting your hands on one - even if you have to challenge someone to a duel. It’s well worth the effort.

Natasha, Pierre & The Great Comet of 1812 is at The Donmar Warehouse until 8 February 2025

Photo credits: Johan Persson

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