Review: NATASHA, PIERRE & THE GREAT COMET OF 1812 at ZACH Theatre

Natasha, Pierre & The Great Comet of 1812 - The Great Comet for short -  is a Tony-nominated musical written by Dave Malloy, inspired by a section of Leo Tolstoy's epic novel "War and Peace." Set against the backdrop of Napoleon's invasion of Russia in 1812, this electro-pop opera offers a vibrant and immersive experience, weaving together the lives of various characters in Moscow's aristocratic circles.

The narrative unfolds around Pierre (Ryan Everett Wood), the dissolute son of a nobleman, who seeks meaning in the depths of a bottle, and Natasha Rostov (Kelly Belarmino), a youthful and innocent countess. Natasha visits her godmother in Moscow while her betrothed, Prince Andrey Bolkonsky (Hayden Stanes), is away fighting in the Napoleonic Wars. As the months pass, Natasha grapples with loneliness and doubts about Andrey's affection. Despite missing him, she feels powerless to change her situation. To distract her from her longing, her cousin Sonya Rostova (Daisy Wright) and godmother Marya Dmitriyevna (Meredith McCall) take her to the opera, where she meets Anatole Kuragin (Jackson Mattek), a debauched prince infamous for his indulgent lifestyle and predatory pursuits of women, and brother of Pierre's morally dubious wife, Hélène (Carmella Lorenzo Manapat). What begins as an innocent friendship swiftly descends into scandalous liaison as Anatole sets his sights on the unsuspecting Natasha, whose moral compass falters under the sway of her heart. Natasha's social standing hangs in the balance, yet she finds hope in Pierre—a wealthy, socially awkward but kind individual.

There are a few more characters and some actors play multiple roles from scene to scene. This would have been confusing were it not for the family tree and comprehensive synopsis provided in the program. To make us feel less awkward about the complex setting, the cast humorously addresses this in their opening prologue: "It’s a complicated Russian novel / Everyone’s got nine different names / So look it up in your program / We’d appreciate it, thanks a lot."

In Dave Steakly’s production of The Great Comet, Shakespeare's timeless sentiment, "All the world's a stage," finds new meaning. Steakly ingeniously transforms the venue, creating an immersive and electrifying theatrical journey for audiences. Tables and bars dot the stage, seamlessly integrated among the band, inviting patrons to become integral to the narrative — whether sipping vodka shots, shaking egg-shaped maracas to the beat of the music, or joining in the dances. The interactive ambiance breaks the fourth wall, as actors roam the aisles, engulfing the entire theater in a vibrant party.

Vocals are the cornerstone of every Zach Theatre production, and The Great Comet is no exception. With Allen Robertson at the musical helm, this electro-pop opera springs to life brilliantly. The exceptionally skilled cast delivers stirring vocal renditions in every song, with many doubling as musicians, playing instruments throughout the immersive set.

Choreographer Josh Assor pleasantly surprised me with his creative blend of traditional Russian dances and pop opera movement, infusing the piece with a modern flair that perfectly complemented the production’s tone. 

Ryan Everett Wood's commanding vocals bring a soul-crushing portrayal of Pierre Bezukhov, captivating audiences with the intensity of his emotions throughout the performance. Kelly Belarmino's portrayal of Natasha Rostova is deeply moving, taking patrons on an emotional journey that ends in genuine heartache. Her skill with the violin is nothing short of extraordinary. Jackson Mattek shines as Anatole Kuragin, skillfully balancing sarcasm, sleaziness, and charm to evoke sympathy and distrust simultaneously. His exceptional talent with the cello adds an extra layer of brilliance to his performance. Carmella Lorenzo Manapat delivers a stellar portrayal of Hèléne Bezukhova, expertly capturing the character's intriguing and morally ambiguous nature. Daisy Wright's exquisite voice illuminates the role of Sonya Rostova, a young aristocrat steadfast in defending her cousin's honor and commitment to her betrothed. Hayden Stanes delivers standout performances in multiple roles, including Andrey Bolkonsky, Old Prince Bolkonsky, and Balaga, showcasing impeccable comedic timing and physicality that, at key moments in the story, provide much-needed humor and lightness.

Completing the versatile cast of The Great Comet and embodying multiple roles while also contributing musically to the production are Meredith McCall as Marya Dmitriyevna, John Alejandro Jeffords as Fedya Dlokhov (and violin), and Maggie Anderson as Mary Bolkonsky. The exceptional ensemble features Logan Foster (guitar), Mariel Ardilla, Zach Crissman (accordion player), and Sharon Robinson and Allen Lopez as understudies.

With its infectious score, witty lyrics, and flawless execution by a stellar cast and a highly skilled tech crew, Zach Theatre's rendition of Natasha, Pierre & The Great Comet of 1812 delivers an exhilarating and uplifting theatrical experience. It has swiftly secured its place at the top of my favorite Zach Theatre productions.

Curious about the Comet of 1812? The teasing mention in the show's title had me pondering all evening. The Comet’s long-awaited appearance comes to light at the finale and symbolizes hope for change and a brighter tomorrow.

Duration: 2 hours and 30 min with intermission

Age Recommendation: 12 and up (for adult situations and some violence)

NATASHA, PIERRE & THE GREAT COMET OF 1812

Book by Dave Malloy

Direction by Dave Steakley

Music Direction by Allen Robertson

Choreography by Josh Assor

ZACH THEATRE

202 South Lamar Austin TX 78704

Now playing through March 3rd, 2024

Wednesdays through Fridays at 7:30 p.m.

Saturdays at 2:30 p.m and 7:30 p.m.

Sundays at 2:30 p.m.

ASL Interpreted - Saturday, February 24th at 2:30 p.m.

 

To post a comment, you must register and login.