Following a stint on Broadway with none other than Josh Groban playing the role of Pierre, the Australian premiere of Natasha, Pierre & The Great Comet of 1812 was hotly anticipated. Stuffed to the brim with a brilliantly diverse cast, and with director, Dean Drieberg (Hamilton Australia) at the helm, this Tony Award-nominated electro-pop opera means business Down Under.
Natasha, Pierre & The Great Comet of 1812 is a raucously ridiculous assault on the senses. I honestly can’t think of a better way to explain it. It’s fast, furious, and intentionally rough around the edges. All performers and musicians are visible on stage throughout the show and they’re constantly swapping characters, picking up different instruments, dancing (often while still playing said instruments), filling in as stagehands, and climbing up and down to all corners of the theatre – all while singing densely packed lyrics in quirky harmonies. It’s an impressive circus of stamina and artistic multitasking.
Photo by Robert Catto
Based on Part 8 of Tolstoy’s War & Peace, the story follows the misguided adventures of Natasha who betrays her war hero fiancé in favour of an already married nineteenth-century Russian playboy. At the risk of upsetting the more cultured among us – given that it’s based on War and friggin’ Peace – the story is probably the weakest part of the whole thing. But, honestly, you’re not really there for the narrative. You’re there for the madness – the spectacularly expansive vocal ranges, the chaotic yet carefully crafted staging, and the nearing-unfathomable level of skill and talent squeezed onto one relatively small stage.
The casting screams diversity and inclusion in the best possible way. It’s not an obligatory tick-box exercise – it’s powerful, exciting, and clever, with performers bringing their unique flavours and new dimensions to the roles. Drag artist Jules Pendrith’s impressively bonkers vocal range gives our villain, Anatole an equally alluring and bold quality. Meanwhile, Zoy Frangos, a Greek and Gourmjanyuk Wemba Wamba man grounds the madness with a strong, steady, and capable performance as Pierre. All twelve cast members work incredibly hard throughout the performance and it’s no exaggeration to say that every single one of them has at least one superstar moment somewhere among the impossible number of characters and supporting roles they play.
Photo by Robert Catto
The music is just as mad as everything else. It’s a hugely eclectic mix of styles and sounds with injections of Russian flavour throughout. Unlike many other musicals, there are no stand-out, ear-worm songs. You probably won’t leave the theatre singing the same catchy chorus over and over again. In fact, you’re more likely to be walking in silence trying to make sense of the barrage of bonkersness you’ve just witnessed. And bonkers it truly is.
Don’t let the subject matter fool you – this musical is full of laughs. Although I often had absolutely no idea what was going on, I cackled loudly several times. All in all, Natasha, Pierre & The Great Comet of 1812 is an impressive display of talent wrapped up in a wonderfully whacky soundtrack. It needs to be seen to be believed so grab your tickets and buckle up!
Natasha, Pierre & The Great Comet of 1812 runs from 9 July – 20 August
Darlinghurst Theatre Company: 39 Burton Street, Darlinghurst, 2010
Tickets start at $89.00 (not including concessions)
Tues – Sat: 7.30 pm., Sat matinee: 2 pm, Sun: 1 pm & 6.30 pm
Run time: 2 hours 20 minutes (including a 20-minute interval)
