Marketed as an “electropop opera,” Dave Malloy’s “Natasha, Pierre and the Great Comet of 1812” is, much like its source material, a challenge — one recently tackled by UR’s International Theatre Program. Ripped from Book 8 of Leo Tolstoy’s “War and Peace,” “Great Comet” details the stories of two Russian aristocrats: Pierre Bezukhov (Eastman first-year Jordan Oney), who undergoes an internal crisis worsened by a lack of support from his wife Hélène (first-year Annabel Barker) and other peers, and Natasha Rostova (junior Annika Almquist), who longs for her fiancé Andrey (senior Gabriel Pierce) after he goes off to war. Behind the lush orchestration, entrancing score, and fanciful plot lies a simple yet transcendent tale of hope, love, and rebirth, showing that one can still rebuild their life even when they think it is over.
While UR’s production of “Great Comet” stunned as expected, I left the show with decidedly mixed opinions surrounding their unique interpretation of the source material.
When I entered the blackbox in the Sloan Performing Arts Center, I was met with an incredibly immersive room complete with a bar and couches. I will avoid spoiling too much about the show (as it will be returning next weekend), but the set felt as if it was truly inhabited by the actors. This feeling of immersion only increased as the show began with its dazzling opener “Prologue,” which solidified for me that the production was going to be something special from the start. The show kicks off with a dizzying pace, perhaps too dizzying. For the first time since listening, I realized how fast “Great Comet”’s first act is.
Regardless, the performances were excellent all-around. Jordan Oney as Pierre nailed the character’s debilitating internal battle with himself, and Annika Almquist as Natasha sold the role of a young ingenue longing for her fiancé. Some members of the cast played instruments, at times while singing, a feat which I can’t imagine the needed skill and practice to complete. The instrumental backing, played by the pit band on the upstairs mezzanine, was well done and sounded much like the original cast album. I’d also like to shout out the incredibly energetic ensemble moments, which were an absolute standout. It should be noted that since many of the lyrics are taken straight from Tolstoy’s prose, the characters often narrate their actions like in a book, which may be a turn-off for some audience members.
Throughout the show, “Great Comet”’s staging was creative and impressive. While there were many wonderful elements to rave about, I particularly loved the usage of a disco ball that showed up during important emotional numbers. Taking the fullest advantage of the small venue at Sloan, the disco ball set piece elevated UR’s production of “Great Comet” to heights greater than the original production, which used a chandelier instead. Lighting, in general, was utilized exceptionally well to heighten emotion.
Yet while most elements of the staging and blocking worked, one elicited mixed reactions from me. At the end of Act I, rolling gurney platforms were introduced and then utilized throughout most of Act II. Though there were times when these rolling platforms added to the scene, in others they seemed somewhat gimmicky. Additionally, in certain scenes when the platforms were used, lights turned on for what I assume were safety reasons, which had the unfortunate effect of breaking my immersion. Even with the lights on, I had my doubts on whether the platforms were safe for the actors; whenever someone jumped on one, it shook. While I did not think the rewards were worth the costs, I’ll still give points for creativity.
Now it’s time to talk about the premise of this production. Unlike the original production, which was set in a posh Russian dinner club-inspired setting, the Theatre Program’s “Great Comet” took place in what looked to be modern war-torn Ukraine. The set heavily evoked Ukraine, containing war propaganda and distinctly Ukrainian references. Costumes also reflected modern military clothing.
Setting “Great Comet” in Ukraine is a risky move. “Great Comet” is an explicitly Russian-inspired show that cannot be removed from this context. The music is inspired by Russian folk music, there are lyrical references to Moscow and Petersburg, and Russian customs are invoked. Therefore, having characters in a Ukrainian setting perform this Russian show is a strange decision, especially when considering the ongoing Ukrainian backlash against Russian culture in real life in response to Russian denial of Ukrainian identity. While the director’s note acknowledged a similar nationalist sentiment during Napoleonic conquest in regards to Russian backlash against French culture, I found that this explanation was insufficient in explaining why Ukrainians were telling a story inherent to Russian culture.
Because “Great Comet” and its source material are originally set during the Napoleonic Wars, the choice of setting also served to create parallels between Napoleon and Putin, who are both egomaniacal conquerors in a sense. But that parallel also seems mismatched: while Russia was defending against Napoleon at the time “War and Peace” took place, Putin’s Russia is now on the offensive in 2025. Thus, it seems awkward when a Ukrainian pretending to be a Russian aristocrat criticizes Napoleon/Putin.
I can, to an extent, understand where this rendition of “Great Comet” is coming from. In 2017, the Broadway revival of “Once on This Island” had a similar directorial concept wherein the premise was connected to current events. “Once on This Island,” which is set in the French Antilles and based on the original “The Little Mermaid” fairytale, was originally framed as a story told to a little girl on an unnamed island who is scared after a thunderstorm. In the 2017 revival, the creative team modeled the premise on Haiti after a 2016 hurricane, transforming the stage into a storm-devastated beach complete with windswept debris and sand. Furthermore, the characters wore makeshift costumes that reinforced the main theme of regular people telling stories. This revival was praised by critics for addressing timely events.
In theory, “Great Comet” would have been a great vehicle for similar messaging; after all, the characters in the show constantly remind the audience that they are telling a story, and they even play their own instruments. However, this wartime-inspired concept cannot be applied as readily due to the differing historical context mentioned above. Instead, it comes across as Ukrainians telling a Russian story, which doesn’t make sense.
Overall, I struggle to understand what this production of “Great Comet” brings to the table that justifies putting it in a current political context, as the message the production wants to convey with its Ukraine setting clashes with the material given by the original script. I think the show is strong enough to stand on its own without needing to make it explicitly political — if anything, politics have the potential to distract from and dilute its simple themes of hope, rebirth, and the universality of the human experience.
Putting politics aside, “Great Comet” is a high-quality production with a lot of heart and plenty to look forward to, and I thoroughly enjoyed it as a whole. In terms of performances and technical aspects, the show remains an excellent piece of student theatre. “Natasha, Pierre and the Great Comet of 1812” is running at the Sloan Performing Arts Center until May 25, with free tickets for students at the door.
