Review: NATASHA, PIERRE & THE GREAT COMET OF 1812 at Pioneer Theatre Company is Deliciously Opulent

Pioneer Theatre Company’s Utah premiere of NATASHA, PIERRE & THE GREAT COMET OF 1812 is deliciously, opulently staged and performed.  It is unlikely that the rarely staged musical will ever be seen in the state again in such glorious trappings.  Anyone with even a hint of interest should race to PTC to avoid missing out on what patrons will surely be discussing in hushed, reverent tones for seasons to come.    

NATASHA, PIERRE & THE GREAT COMET OF 1812 (by Dave Malloy) is an “electropop opera” adaptation of a portion of Tolstoy’s WAR & PEACE that received 12 Tony nominations in 2017, including Best Musical.  The engaged Natasha is entranced by Anatole, who brazenly pursues her, and the ensuing events impact their many family members and friends, including his brother-in-law Pierre.

Broadway leads Ali Ewoldt (Christine in THE PHANTOM OF THE OPERA) as a luminous Natasha and Kevin Earley (original Defarge in A TALE OF TWO CITIES) as an introspective Pierre give astonishing performances—technically accomplished but also tender and profound.

The stellar female supporting cast is an embarrassment of riches, including Melanie Fernandez as Sonya, Lucy Anders as Mary, Ginger Bess as Hélène, and Mary Fanning Driggs as Marya D. 

The men round out the cast with pluck and flair, including Aleks Pevec as Anatole, Justin Luciano as Dolokhov, Edward Juvier as Bolkonsky/Balaga, and Bennett Chew as Andrey.

The unusual score is polarizing, but there is no question that is has been finely music directed and conducted by Phil Reno, with many cast members playing onstage instruments. 

Delicately directed and choreographed by Karen Azenberg with some immersive elements, the production is an exquisitely executed well of emotions. 

Much is owed to the lush design, and in particular the ravishing set by Jo Winiarski.  The textured, red-patterned walls, adorned with oil paintings and chandeliers, appear as a stately aristocratic mansion but are arranged in slightly off-kilter geometric lines and house assorted unexpected delights. The scenery is magnificently lit by Paul Miller to provide a consistent color palette of the all-encompassing reds, and beyond, deep blue and burnished gold. The sumptuous costumes by Patrick Holt and hair/makeup by Tami Lee Thompson add to the sweeping, yet intimate dichotomy of the piece.

In an unthinkable time when venues like the West Valley Performing Arts Center and Abravanel Hall are in peril, Pioneer Theatre Company has hinted it is not itself out of danger from the unprecedented challenges currently facing the arts. It should be an easy decision to show your support if it means you get to relish work of this caliber.    

NATASHA, PIERRE & THE GREAT COMET OF 1812 plays through May 25, 2024. For tickets, call the box office at 801-581-6961 or visit www.pioneertheatre.org.

 

Photo Credit: BW Productions

 

 

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