Elizabeth Surbey

NATASHA, PIERRE AND THE GREAT COMET OF 1812 : FIVE EXULTANT STARS

 

NATASHA, PIERRE AND THE GREAT COMET OF 1812 (BOOK AND LYRICS IS BY DAVID MOLLOY) IS THE AUSTRALIAN PREMIERE OF THE TONY AWARD® NOMINATED ELECTRO-POP OPERA BASED ON A SCANDALOUS SLICE OF TOLSTOY’S WAR AND PEACE

Set in 1812, the astronomic musical follows the young and spontaneous Natasha who awaits the return of her beloved Andrey – the fiancé on the front lines. One night at the Opera, in a city exploding with hedonism and opulent excess, Natasha falls passionately in love with the dashing, roguish, (and already married) Anatole. To solve her love conundrum she turns to the lonely Pierre – a friend in the middle of an existential crisis who makes it his mission to extricate her from risk of ruin and in doing so, renew his own soul.

Was it really three months ago that I delved into this work in an interview with Dean Drieberg whose passion spoke volumes before I could even understand where this work would take us. The gift to the creatives from the creator Dave Malloy, multi nominated and the writer of both the book and the lyrics, is an incredible ensemble work.

The talent of the company as they all work beyond any triple threat, singing, dancing, acting and indeed each one plays the musical accompaniment. Built around strings, keyboard/harpsicord, clarinet, sax, bass, electric guitar, accordian/s, cello/s and more.

Dean Drieberg, Claire Healy and Brendan Yeates:

“In building this version of Great Comet, we have had the freedom to build a show around the incredible humans we have on stage. A different group of people would have created a completely different show, and we are so grateful for every single member of our cast for their talent, generosity, spirit of collaboration and play.”

Sensational. More than this, inextricably enveloped in the Comet of 1812, and its magic spell. Introduced in a rocking collective prologue, each character is unpacked before us in one word and a key instrument. Identified also in their costumes (Nicole & Ford), unique to speak more to character than the time – but I loved the hint to the Russian world of then with clever complexity to seal with the dance, the space, the lifts and the manoeuvring. 

Then over the next several hours, passing faster than any labour of love should, more fascinating than a Bridgeton episode, yet with stakes as high, the romantic unravelling.

Dean had said it would be an immersive experience, and I sat amongst the front and centre. Others engaging right up to the raked curves runways (as if at a bar) enveloping the central circle not unlike the arms of the entire solar system. Echoes throughout the set design by Tyler Hawkins of the spherical universe, and moon told by the largest disco ball I could imagine in such a space, the runway races throughout the entire theatre. Truly inviting the full house to be participant in the relational retellings. I promise you do not need know the novel from when our characters have stepped into the comet moment.

The techno pop is embraced in the glowing LED extra fittings and the lighting (Veronique Bennett) amongst the scaffolds and balcony trusses also assist in elevating the world of Natasha (Grace Driscoll) and Sonya (Kala Gare) and an incidental blossoming romance, that may or may not be what should be happening. Natalia is swept away by the swaggering Anatole (Jules Pendrith), and none of us are surprised he is so seductive and worth a lusty glance from all.

The exciting rock opera, techno pop, ballad filled, vehicle has some beautiful depth in several wonderful numbers, not least anything for Pierre (Zoy Frangos) who is a standout, if I were allowed to encourage in such an exceptional company. I also was touched with a mesmeric vocal range of both Natasha and Anatole. Powerfully explored was also a rare solo intimate for Sonya Alone, when she took the keyboard from the MD and under an intimate spotlight sang a tribute to her friendship. Just Beautiful.

Bravo Claire Healy, Musical direction par excellence, bringing apparently many more instruments than the Broadway original and melding all vocals and instruments seamlessly with the sound mix exceptional also (Dylan Robinson).

The story holds up brilliantly. I was very much drawn into it.  A pop rocking good show for the here and now.

FEATURING Grace Driscoll, Zoy Frangos, Cameron Bajraktarevic-Hayward, Skye Beker, Anton Berezin, Kala Gare, Lillian Hearne, Tom New, Jillian O’Dowd, Jules Pendrith, Marissa Saroca, and P. Tucker Worley.

NATASHA, PIERRE AND THE GREAT COMET OF 1812 is playing the Eternity Playhouse until 20th August, 2023

Production photography by the mercurial Robert Catto

Review by Elizabeth Surbey

 

 

 

 

Published by Elizabeth Surbey

Elizabeth had a passion for theatre and performing from her youth and was a keen contributor to the joint school musicals- mostly the Gilbert and Sullivan romps. Once she headed to university this passion dominated with a 4 year stint at UNE in Armidale encompassing both performance and directing as major components of her Double Major in Drama and Major in English Literature. The year after graduation she found herself not only at the newly formed Actors' Centre but also teaching high school drama. She is still there, teaching, directing, writing for high school Drama and on the side across the years has performed in small season productions at Q theatre and directed several productions for the Short & Sweet program being a part of the inaugural group. Keenly she has represented other drama educators as committee member then President of Drama NSW also representing NSW on the National Committee at Drama Australia National Conferences. She completed her MA a century ago also with a focus on Drama & Theatre at UNSW. She is now a mum of two and recently directed her sixth Musical - perhaps now coming full circle in the scheme of things. She was contributing and consulting editor on a major Drama text for Cambridge Uni Press "Drama ReLoaded". More than anything she loves theatre and is very keen to share her experiences with this forum. Each year she directs secondary students in plays from Australia and across the globe, in productions large and small.