‘Natasha, Pierre, and the Great Comet of 1812’ @ Theatre Three
Show photos by Jeffrey Schmidt
—Jan Farrington
Trust musical theater to snatch up the sexiest section of Leo Tolstoy’s epic novel War and Peace—and run with it. Theatre Three’s Natasha, Pierre, and the Great Comet of 1812, with a dynamic mix of Russian folk music, electro-pop, dissonant duets and operatic declarations, is a sung-through marvel—a torchy, nightclub-style show directed at white heat by the ever-imaginative Ashley H. White.
And you won’t believe the moves choreographer Danielle Georgiou gives the cast, who throw themselves into the booty-shaking dances with wild abandon. (I saw a preview just before opening night, but the vibe was definitely “rarin’ to go.”)
T3’s area professional premiere of the 2016 Broadway hit is chock-full of troubled romance. The young Countess Natasha loves Prince Andrey, who, she repeats plaintively, “isn’t here.” (He’s off to the wars, fighting Napoleon’s invasion of Russia.) His friend Pierre’s marriage to well-born “slut” Helene (don’t blame me for the “s” word, it’s in the lyrics!) makes him feel sad and angry. Anatole (Helene’s brother, also a slut) is “in luv” constantly—and fresh, new-to-Moscow Natasha is just his jam. There will be stolen kisses, love letters, duels, attempted elopements, angry outbursts, and girls sent to their rooms. (And believe it or not, the Really Big Romance of the novel comes much, much later.)
Music director Scott A. Eckert plays a fine piano onstage that centers the score, and he shepherds a band of musicians who stroll and perch around the theater, sometimes blending into the ensemble action. Dave Malloy’s lyrics (like opera) are at times hard to decipher on the fly, but are nonetheless continually interesting. Malloy pulled many lines directly from Tolstoy—who loved having his characters “speak” their inner thoughts.
Nick McGeoy as shiny/slimy Anatole shows off a stunningly strong, clear voice, and Bella Zambrano’s bright soprano and confused, fragile manner feel very right for Natasha. Ian Ferguson sings in a deeper rumble as the good but unhappy Pierre; it’s an effective vocal style for this sympathetic character, though a bit more volume would be welcome on lower notes. Brett Warner as Natasha’s upright godmother Marya has a bell-clear, I’m-in-charge voice; it’s a good contrast to Laura Lites’ playfully decadent vocal style as Helene.
As Natasha’s cousin/companion Sonya, Laila Jalil scores with a solo number declaring she’ll save Natasha from Anatole even if it destroys their friendship. Kevin Solis as the reckless Dolokov gets a solo moment to remind us of his distinctive voice, and Emily-Arden Seggerman is touching as Princess Mary (Andrey’s lonely sister), who sings of her hateful life at home with father. (Sinclair Freeman is growly as the old Prince—and subdued in a brief cameo as his son Andrey.) And at the reins of the getaway vehicle (a Russian troika), Laura Leo Kelly is amusing and energetic as driver Balaga.
But all this doesn’t entirely explain what I found so compelling about T3’s production. The company’s Great Comet, with White at the helm, is a true work of collective artistry and imagination: Ferguson’s, Zambrano’s and McGeoy’s terrific, essential performances; Eckert’s lovely way with the music (and Claudia Martinez’ well-balanced sound); Georgiou’s creative choreography and Jeffrey Schmidt’s set design—which melds night skies, stars, and darkness with the reds/golds/silvers of upscale Moscow nights. Add in Aaron Johansen’s use of spotlights in every possible corner of the theater, Jessie Wallace’s varied high/low costume styles, and Rayven Harris’ spot-on props, and The Great Comet completely holds our attention. (And did I say dancing?!)
In the end, we’re not just entertained; we’ve come to care about these mostly “posh” people (as Tolstoy intended)—all of them seeking love, happiness, peace, and purpose from their one go-round on this Earth.
Just like the rest of us.
WHEN: November 29-December 29, 2024
WHERE: 2688 Laclede Street, Dallas
WEB: theatre3dallas.com
