Darlinghurst Theatre Company has announced the Australian premiere of Tony Award winning electro-pop opera Natasha, Pierre & The Great Comet of 1812 written by composer and lyricist Dave Malloy. It is based on a scandalous slice of Tolstoy’s War and Peace. Following a critically exalted premiere at Ars Nova in New York City, a subsequent Off-Broadway transfer, and an acclaimed run on Broadway, this exhilarating musical theatre production is set to make its mark offering a high-energy and immersive experience. 

The production will open on Sunday 9th July at the Eternity Playhouse with the season running until Sunday 20th August. Set in 1812, this astronomic musical follows the young and spontaneous Natasha who awaits the return of Andrey – her beloved fiancé on the front lines. One dizzying 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 her lonely friend Pierre (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. 

Brought to you by some of the lead artists who have worked on big hit musicals such as Hamilton and SIX, the creative team behind this Australian debut musical will be applauded in their expert ability to drive an experience set to utterly engross audiences. Natasha, Pierre & The Great Comet of 1812 will be directed by Dean Drieberg (Hamilton, Resident Director), with musical direction by Claire Healy (SIX, Musical Director) and choreography by Brendan Yeates (Hamilton, Resident Dance Supervisor).

Liz Surbey’s interview with the show’s director Dean Drieberg

I had a marvellous opportunity to join Dean in a zoom call interview to help build the anticipation as well as get some clues on how the show has got here to the Eternity Playhouse for the Sydney Premiere. With an exciting journey across the origin of the show in the meatpacker district in a custom-built tent, through to today. 

Dean came to the work after just missing seeing the various iterations in New York. Excited by the word of mouth, he sought the work’s recordings. He had previously pitched the idea to Darlinghurst Theatre company. The time was right and they came back to him. Rather than a revision of those first Broadway experiences the artistic creatives are very keen that this is indeed a brand new show which Dean himself has only heard through the original recording. He is delighted that his team can bring their own interpretation of the material purpose built for the Australian talent and the Sydney venue. Eternity Playhouse is intimate and yet perfect and offers the design team an opportunity for something unexpected and surprising. Originally with built walkways, transformation of the theatre space inviting something immersive.

It is a period piece and yet in what we might imagine, a leap of time in theme and in style. Dean is presently working on Hamilton as resident director and one can imagine that theatrical experience as one example of the Musical genre reaching across time and style. I also referenced Bridgeton in seeking to comprehend a period that made a contemporary vision thrive. Dean agreed. He did however say that this work might feel more like an event or party, and the audience invitation to directly engage in and within the work will be very distinct.

Dave Molloy was the original composer and musical director and was in the original production the first ever Pierre. The Broadway original came from a much larger company, ensemble and leads et al.

This time they bring a cast of 10 all of whom are what might be best called the quadruple threat talent. They sing, they dance, they act, and they will all play the score live as part of the action on stage. Dean was not ready to reveal the company but he did say several play multiple instruments. Folk, rock to techno and electro pop, there will be some of the ballad style that Musical theatre is best known for, yet each style will transport. This eclectic style collection will also give the show a contemporary relevance and resonance informing the characters and allowing the audience sub conscious – speaking to then and to now.

All the creatives are excited to bring something already tested and yet in a completely new iteration to Sydney and the Darlinghurst theatre. They are excited by the trust and the opportunity. Dean is beyond bursting with enthusiasm. 

Possibly the longest title of the Musical theatre cannon, and possibly from the longest source – War and Peace romance drama and the juiciest part – more about the love and the scandal. This show is a universal story that is very impacted by the narrative – it is an escapist reality.

All bringing something new for each of their departments – and none of this company saw the original production so are bringing all new interpretations. It’s a simple story, he says, certainly revealing its link to War and Peace origins. And yet it will stand on its own utilising the borrowed narrative of Natasha and Pierre.

Director Dean Drieberg also speaks on how he sees the production coming to life, “We are taking a distinctive direction for this brand new production, this is a liberating and exciting opportunity for creatives. The contrasting folk to techno styles within the score invite an innovative approach to the material. Whilst mining War & Peace, we are developing our own style of storytelling that references physical theatre, club culture and contemporary pop concerts. I am thrilled to work alongside a team of outstanding traditional and non-traditional theatre creatives and cast to bring this bold vision to life.”