This tops many outlets “Best of 2016” lists, and is often compared favorably with super-musical Hamilton in terms of innovation and sheer vivacity. What do I think of it? Well, similar to the way I feel about Hamilton, I at least really enjoyed it about as much as everyone else. As for innovation, well, this sort of thing has been done a lot before, especially in the 1970s, though I can’t deny the dexterity of execution here far exceeds anything I’m aware of in this vein.
Natasha, Pierre and the Great Comet of 1812 is composer / writer Dave Malloy’s inspired, stylistically eclectic musical adaptation of a 70-page slice of Leo Tolstoy’s epic novel of Russia under attack from Napoleon, War and Peace (some of the spicier and more romantic pages of the novel, it should be said). Director Rachel Chavkin has staged Malloy’s pluckily intellectual creation in a style that in the 1970s was called “environmental,” and today goes by the moniker of “immersive.”
Having worked on immersive productions myself, I’m not taken so much by the idea of Chavkin’s immersive staging – it’s just one of many ways this material could have been staged. What I am taken by is the breathtaking skill and creativity with which Chavkin has applied it.
Here’s one example that stands out for me: our hero Pierre visits a club. For this scene, a 1812 Moscow aristocratic private club is portrayed as S&M night at a 1990s mega-club. It’s a fun idea, but also a really dumb and corny one. Granted that things could get pretty wild at the 1812 club, what with the epic consumption of vodka, but it’s still really apples and oranges.
However, Chavkin, lighting designer Bradley King and choreographer Sam Pinkleton attack the sequence with such precision and energy that the sheer visceral impact is undeniable, even overwhelming, especially in this immersive context. Chavkin and her team bring this combination of smarts and virtuosity to every scene. Highly recommended.
For tickets, click here.
To learn about Jonathan Warman’s directing work, see jonathanwarman.com.