Review: NATASHA, PIERRE, AND THE GREAT COMET OF 1812 at Cygnet Theatre

“Natasha, Pierre, and The Great Comet of 1812” now playing at Cygnet Theatre is a maximalist electro-pop opera immersive musical dream, with a superb cast, and wonderful choreography, that will leave you dazzled.  “Natasha, Pierre, and The Great Comet of 1812” is running through May 19th.

After a celebrated off-Broadway and Broadway run, this musical brings Moscow to San Diego, bringing a 70-page section from Leo Tolstoy’s War and Peace to the stage.  Full of energy, and clever winks to the source material, the show is stylish, funny, and cheeky, and doesn’t just break the fourth wall but smashes it entirely.   No worries if you don’t know the source material, the ensemble helpfully directs you in the opening number to the family tree“It’s a complicated Russian Novel, everyone’s got nine different names, look it up in your program.”

It is Moscow,  Napoleon’s invasion is looming, and most able-bodied men are off fighting;  this includes young Natasha’s (Selena Ceja) finance Prince Anndrey (Brian Mackey).  Along with her best friend and cousin Sonya (Megan Carmitchel) she goes to stay with Marya (Linda Libby) so Natasha can make her entree into Moscow society.  Natasha also hopes to win over her fiancés cold family Princess Mary (Brittany Adrianna Carrillo), and her father (also played by Mackey).

Meanwhile, Pierre (Kürt Norby) is drowning in books and vodka to battle his ennui as he is too old to fight. His unfaithful wife Hélène (Jasmine January), and her brother Anatole (Michael Louis Cusimano) have their fun causing chaos, and taking predatory glee in despoiling the young and naive. Their friend Dolokhov (Tanner Vydos) is both an accomplice and a crack shot, their champion should any duels need fighting.  As their machinations cause harm Pierre decides it is time to live his life and try to right the wrongs being made.

As Natasha, Ceja radiates a wide-eyed naivety, decked out in her virginal white gowns, she is impressionable and impulsive- an irresistible target to be seduced.  Her voice is beautifully emotive and she has wonderful control and vocal range.

Norby as Pierre is warm and likable, full of compassion and self-loathing at his inaction. His vocals are soaring and seemingly effortless, including a showstopper with his superb first-act solo “Dust and Ashes.”

January is delightful as Hélène, who acts as a dark cupid, arranging for innocents to fall prey to her brother’s machinations.  Cusimanao is wonderfully shameless as the cad Anatole.  Watching them both embrace their villainy is truly delightful.

Standouts include Carmitchel as the confident and sweet Sonya trying to save her cousin from herself, Luke H. Jacobs as Balaga a sleigh driver in the second act, and Vydos as Dolokhov. Honestly with this insanely talented cast, it would be easy to list everyone.

Fully sung through, the music mixes opera, musical theatre, Russian folklore, rock, and EDM influences, to create something that delights in playing with harmony and dissonance as it best suits the story.  Music director Patrick Marion plays multiple instruments while directing the vocal performances, and his onstage orchestra which includes PJ Bovee on bass, Amy Kalal on oboe and English horn, Dave Rumley on percussion, Erika Boras Tesi on cello, Ariana Warren on clarinet and bass clarinet, and Sean La Perruque on violin and viola.

As excellent as the entire cast is, they are supported by an equally superb creative team.

Directed by Sean Murray this show is sung through and is a remarkable feat considering all of its moving parts, and the ensemble playing multiple roles at a frantic pace, all while playing instruments.  Choreography by Katie Banville is energetic and creative as it takes inspiration from Russian folklore along with modern influences and utilizes the entire theatre.

Costumes by Shirley Pierson are evocative and edgy and complemented by wigs and makeup by Peter Herman.  Scenic design by Mathys Herbert features multiple levels while still allowing room for everyone to maneuver throughout the theatre.  Lighting design by Amanda Zieve mixes lighting and effects, enveloping the audience. It could easily become a cacophony but thanks to the sound design by Matt Lescault-Wood it all rings clear and balances the live music, the vocals, and electronic music to create a mesmerizing soundscape. 

Also a shout-out to everyone in the back of the house, this show must be incredibly demanding to keep running behind the scenes at its quick pace.

Like the comet Pierre observes, “Natasha, Pierre, and The Great Comet of 1812” is a dazzling event to experience.

How To Get Tickets

“Natasha, Pierre, and The Great Comet of 1812” is playing at the Cygnet theatre through May 19th. For ticket and showtime information go to www.cygnettheatre.com

Photo Credit: Photo by Karli Cadel Photography

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