Inspired by a 70-page slice of War and Peace, this "vibrant, thrillingly imagined new musical" (The New York Times) is "stunning and blazingly original" (Entertainment Weekly) and brings us just inches from Tolstoy's brash young lovers as they light up Moscow in a "heaven-sent fireball" (The New York Times) of romance and passion.
NATASHA IS YOUNG, ANATOLE IS HOT, AND ANDREY ISN'T HERE... BUT WHAT ABOUT PIERRE? Natasha is a beautiful ingenue visiting Moscow while she waits for her beloved fiance Andrey to return from the war. In a moment of indiscretion, she is seduced by the dashing (but already married) Anatole and her position in society is ruined. Her only hope lies with Pierre (Groban), the lonely outsider whose love and compassion for Natasha may be the key to her redemption... and to the renewal of his own soul.
"One of the decade's best musicals" (Time Out New York), THE GREAT COMET has "rousing music and ravishing performances" (Daily News) with a groundbreaking score that mixes rock, pop, soul, folk and electronic dance music with classic Broadway. THE GREAT COMET arrives fresh off its sold-out run in Boston and its critically acclaimed Off-Broadway premiere. Its renowned creative team has reimagined the Imperial Theatre as an opulent Russian salon, where every seat provides a unique perspective and an unforgettable experience which is "thrilling, a feast for the senses" (Associated Press) and "inventive, ravishing and full-on romantic" (New York Post).
What a world MacArthur 'genius' Mimi Lien has created at the Imperial Theatre forNatasha, Pierre & The Great Comet Of 1812. The auditorium is voluptuously draped in scarlet velvet, with gold and brass accents. Brilliant knockoffs of the crystal-and-gold chandeliers at the Metropolitan Opera House rise and fall like Fourth of July fireworks as stairways curve gracefully into the orchestra, where some seats have been replaced by candle-lit bistro tables suitable for nestling overpriced cocktails. Portraits of Important People, including the Emperor Napoleon, are stacked on the walls like art at the Louvre (or Sardi's, take your pick).
The staging is remarkable considering all its moving parts, and the gifted young ensemble, often cycling at full tilt through multiple roles, earn every ounce of sweat and confetti. But the end result feels a little too much like zero-calorie entertainment (well, not counting the pierogi): brisk and sexy and emotionally weightless. The flow of the story never quite takes hold, and the stakes for these star-crossed lovers feel no more or less crucial then the next musical number tells us it is. (Malloy's lyrics toggle between self-aware wit and straight-up exposition; the melodies themselves don't tend to leave many chemtrails.)
2013 | Off-Broadway |
Original Off-Broadway Production Off-Broadway |
2016 | Broadway |
Original Broadway Production Broadway |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2017 | BroadwayWorld Awards | Best Costume Design | Paloma Young |
2017 | BroadwayWorld Awards | Best Featured Actor in a Musical | Lucas Steele |
2017 | BroadwayWorld Awards | Best Lighting Design | Bradley King |
2017 | BroadwayWorld Awards | Best Scenic Design | Mimi Lien |
2017 | BroadwayWorld Awards | Best Sound Design of a Musical | Nicholas Pope |
2017 | Drama Desk Awards | Outstanding Director of a Musical | Rachel Chavkin |
2017 | Drama Desk Awards | Outstanding Lighting Design for a Musical | Bradley King |
2017 | Drama Desk Awards | Outstanding Set Design for a Musical | Mimi Lien |
2017 | Drama Desk Awards | Outstanding Sound Design in a Musical | Nicholas Pope |
2017 | Drama League Awards | Distinguished Performance Award | Denee Benton |
2017 | Drama League Awards | Distinguished Performance Award | Josh Groban |
2017 | Drama League Awards | Outstanding Production of a Broadway of Off-Broadway Musical | Natasha, Pierre and the Great Comet of 1812 |
2017 | Outer Critics Circle Awards | Outstanding Lighting Design (Play or Musical) | Bradley King |
2017 | Outer Critics Circle Awards | Outstanding Set Design (Play or Musical) | Mimi Lien |
2017 | Outer Critics Circle Awards | Outstanding Sound Design (Play or Musical) | Nicholas Pope |
2017 | Theatre World Awards | Outstanding Broadway or Off-Broadway Debut Performance | Josh Groban |
2017 | Theatre World Awards | Outstanding Broadway or Off-Broadway Debut Performance | Denée Benton |
2017 | Theatre World Awards | Outstanding Broadway or Off-Broadway Debut Performance | Amber Gray |
2017 | Theatre World Awards | Special Theatre World Honoree | Dave Malloy |
2017 | Tony Awards | Best Book of a Musical | Dave Malloy |
2017 | Tony Awards | Best Choreography | Sam Pinkleton |
2017 | Tony Awards | Best Costume Design of a Musical | Paloma Young |
2017 | Tony Awards | Best Direction of a Musical | Rachel Chavkin |
2017 | Tony Awards | Best Lighting Design of a Musical | Bradley King |
2017 | Tony Awards | Best Lighting Design of a Musical | Bradley King |
2017 | Tony Awards | Best Orchestrations | Dave Malloy |
2017 | Tony Awards | Best Original Score (Music and/or Lyrics) Written for the Theatre | Dave Malloy |
2017 | Tony Awards | Best Performance by an Actor in a Featured Role in a Musical | Lucas Steele |
2017 | Tony Awards | Best Performance by an Actor in a Leading Role in a Musical | Josh Groban |
2017 | Tony Awards | Best Performance by an Actress in a Leading Role in a Musical | Denée Benton |
2017 | Tony Awards | Best Scenic Design of a Musical | Mimi Lien |
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