Writers Theatre’s “Natasha, Pierre & the Great Comet of 1812,” with Aurora Penepacker and Joseph Anthony Byrd/Photo: Liz Lauren
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Before the lights come up, you’ll be immediately enthralled by Courtney O’Neill’s decadent scenic design. A gentle winding staircase, an embellished galleria box for the orchestra, and an ornate floor pattern ensconced in faux marble tell us we’re guests at an opera. Not just any opera, mind you, but an at-times-dizzying whirlwind portrayal of the scandalous lives of Russian aristocracy amidst the Napoleonic Wars.
If that last bit sounds familiar, perhaps you recall a trudging read through Leo Tolstoy’s 1200-plus-page behemoth “War and Peace.” That tome is the source material for Dave Malloy’s intoxicating “Natasha, Pierre & the Great Comet of 1812.” Named as such since few would likely line up to see “War and Peace: The Twelve-Hour Musical.” Not to worry, at 140 minutes with intermission, this electropop opera only captures a fragment of Tolstoy’s story—the juiciest bit.
To put it simply, this is a story of love and society. Natasha (Aurora Penepacker) pines for her betrothed Andrey (Matthew C. Yee) who is off at war and the rest of the characters flit about doing their high-society duties like idle gossip and meddling. As for Pierre (Evan Tyrone Martin), who deserves so much more stage time, he can often be found drunkenly brooding with a book in his hand.
That, in a nutshell, is “Great Comet.”
Writers Theatre’s “Natasha, Pierre & the Great Comet of 1812,” with Bri Sudia and cast/Photo: Liz Lauren
Should you find yourself in a vodka-induced fog trying to make sense of the goings-on, you can always get lost in the glistening costume designs by Raquel Adorno. All of the Russian-inspired furs and fineries are irresistibly dreamy. Fellow millennials may find themselves humming a tune from “Anastasia” on the way out.
Right from the top the ensemble lets us know that it’s okay to get confused. Tolstoy created a lot of characters and those characters go by several names. Although it may seem easy to fall into a name-convention trap, you’ll find it difficult as every one of these standout performances is truly unforgettable. Take the magnanimous Jonah D. Winston for instance, who, even as a side character like troika driver Balaga, commands attention like few others can.
Despite being featured in the title, Martin’s Pierre gets a fraction of the action that the rest of the cast does. Even so, Martin’s velour voice cuts through your heart. Meanwhile, Penepacker’s ingenue Natasha is captivating. Her sweet melodies carry us through the bitter Russian winter, reminding us that love can be a tricky thing. And someone had better warn “Bridgerton” actress Golda Rosheuvel about Bethany Thomas because her Marya D. gives Queen Charlotte a run for her money.
This isn’t a musical I would listen to casually. It isn’t built for that. Instead, it’s meant to be seen. Presented like a rave-adorned Fabergé egg, “Great Comet” is an experience one must see to believe.
“Natasha, Pierre & the Great Comet of 1812” runs through November 3 at Writers Theatre, 325 Tudor Court, Glencoe. Showtimes: Wednesday-Friday, 7:30pm; Saturdays, 3pm and 7:30pm; Sundays, 2pm and 6pm. Tickets are $40-$100, available at writerstheatre.org or by calling (847)242-6000.
