Natasha Pierre and The Great Comet of 1812: Ultimate Musical Guide

Ever tried explaining Natasha Pierre and The Great Comet of 1812 to someone? It's like describing a psychedelic dream about Tolstoy. Picture this: you're in a Russian supper club circa 1812, vodka in hand, while aristocrats sing electro-pop about forbidden romance as a comet approaches. Yeah, it's that wild. Having seen it twice off-Broadway before it hit the big time, I'm still not over how they turned 70 pages of War and Peace into a theatrical rave.

What Exactly Is This Show Anyway?

So Natasha Pierre and The Great Comet of 1812 (or just Great Comet if you're cool with the shorthand) is a sung-through musical adaptation of Book 8 from Tolstoy's War and Peace. Composer Dave Malloy basically grabbed this slice of Russian drama and dressed it up with folk, electronic, and indie rock sounds. The first time I walked into the tent set up in Manhattan’s meatpacking district, they handed me a pierogi and sat me at a table littered with fake samovars. Felt like crashing a very artsy Russian wedding.

Why It Feels Like Nothing Else

That immersive vibe? Totally intentional. Original productions had actors roaming through audiences, handing out dumplings, singing literally in your lap. I remember Pierre (played by Brittain Ashford that night) spilling tea near my table during a ballad. Messy? Maybe. Magical? Absolutely. Unlike traditional musicals where you sit in the dark, this thing wraps around you.

Breaking Down That Bonkers Storyline

Okay, let's untangle the plot. Moscow, 1812. Natasha’s engaged to soldier Andrey who’s off at war. She visits cousin Sonya in Moscow and meets the slimy Anatole at the opera. Anatole decides he wants her - consequences be damned. Meanwhile, Pierre (Anatole’s brother-in-law) is drowning in existential dread and vodka. When Anatole tries to elope with Natasha? Everything implodes. All while a comet streaks toward Earth, because symbolism.

Key Players You'll Meet

Character	Who They Are	Vocal Range	Memorable Moment
Natasha Rostova	Young idealistic ingenue	Soprano	"No One Else" - that heartbreaking solo after scandal hits
Pierre Bezukhov	Weary intellectual heir	Baritone	Chain-drinking wine while singing about the comet's meaning ("Dust and Ashes")
Anatole Kuragin	Charming disaster human	Tenor	The disturbingly catchy seduction song "Charming"
Hélène Bezukhov	Pierre's scandalous wife	Mezzo-Soprano	Her sultry "Chandeliers" number in satin pajamas

Fun fact: Josh Groban played Pierre on Broadway. My cousin saw him and said he seemed genuinely startled when an audience member handed him vodka during his soliloquy. Only at Great Comet.

The Soundtrack That Shouldn't Work (But Does)

Dave Malloy’s score is like a musical fever dream. One minute you’ve got balalaikas plucking Tchaikovsky-esque themes, next minute there’s auto-tuned electronica and club beats. I’ll be honest - the first time I heard hip-hop verses about 19th-century Moscow society I nearly choked on my borscht. But somehow? It clicks.

"Prologue": Best "here’s everyone you need to know" exposition ever set to music
"The Duel": Literally just Pierre screaming "STOP!" over chaotic strings
"Natasha & Bolkonskys": That moment you realize opera can have drum machines

My personal favorite remains "Sonya Alone" - Sonya’s raw ballad about protecting Natasha. Sung under a single lightbulb when I saw it? Chills.

Hot take: The Broadway cast recording is solid, but hunt down the Off-Broadway version with Phillipa Soo. Her Natasha feels younger, more fragile. That vulnerability cuts deeper.

Seeing It Live: What to Expect

Productions vary wildly. The immersive version? Prepare for:

Actors sitting beside you handing out prop letters
Stage platforms weaving through tables
Random audience members pulled to dance during "Balaga"
Instrumentalists roaming like gypsy musicians

But pro tip: Some regional theatres do proscenium versions. Saw one in Chicago that felt... tame. Like vodka swapped for herbal tea. If you’re going, hunt down immersive.

Why You Should See It

Experience feels personal and electric
Music stays in your bones for weeks
Brilliant way into Russian classics for non-readers

Potential Hiccups

Overstimulating if you hate audience interaction
Late seating often impossible (action everywhere)
Dialect-heavy lyrics can be tricky to catch

Finding Productions Near You

Since Broadway closed in 2017, it’s mostly regional runs. Check:

College theatres: Saw an inventive student version at Oberlin using bicycle wheels as spinning gears
Major regional houses: American Repertory Theater does revivals periodically
International: Seoul’s 2023 production added K-pop influences (wild!)

Ticket prices vary insanely. Paid $45 for off-Broadway table seats including snacks. Broadway? Over $200 for comparable. Sign up for alerts at GreatCometMusical.com for revival news.

Notable Productions Timeline

Year	Location	Venue Type	Star Power
2012	NYC (Ars Nova)	60-seat club	Original cast - intimate magic
2013	Meatpacking District	Custom tent venue	Added circus elements
2016	Broadway	Imperial Theatre	Josh Groban as Pierre
2023	London (West End)	Kit Kat Club	Reimagined cabaret style

"I thought Tolstoy adaptations would be stuffy. Then Pierre handed me a shot during intermission. Mind changed." – Actual audience member (Seattle run)

Why This Show Matters Now

Beyond the spectacle, Natasha Pierre and The Great Comet of 1812 nails timeless themes. Natasha’s public shaming feels painfully modern in our cancel-culture era. Pierre’s depression resonates post-pandemic. Even Anatole’s narcissism? Yeah, we’ve all met that guy on dating apps. Malloy makes 1812 feel like yesterday.

Frequently Asked Questions

Is The Great Comet kid-friendly?

Ehhhh. There’s simulated sex (Anatole’s seduction scene), heavy drinking, and themes of adultery. Teens? Maybe. My 15-year-old niece loved it but blushed fiercely during "Charming." Leave the littles at home.

How long is the show?

Usually 2 hours 30 minutes with intermission. Pace is fast though - feels shorter.

Should I read War and Peace first?

God no. The musical’s prologue catches you up instantly. I’ve never read past Book 8 and survived just fine.

Why did Broadway close so fast?

Oof. Complex. High running costs ($650k/week!), cast controversies, and honestly? Maybe Broadway wasn’t ready for something this experimental. Still stings though.

Is there a movie adaptation coming?

Rumors swirl every few years. Latest gossip? A24 might develop it as limited series. Fingers crossed.

Final Thoughts From Someone Who's Seen It

Look, Natasha Pierre and The Great Comet of 1812 won’t be for everyone. My theater companion fell asleep during the metaphysical comet monologue (rude). But if you crave bold, soul-shaking theatre that throws tradition out the window? Worth chasing down. Hearing those opening chords still gives me goosebumps years later. When productions return - and they will - grab those tickets. Just maybe practice your Cyrillic alphabet first. Helps with the playbill.