Running since October 2016 A romantic lover's triangle set against the backdrop of 19th century Russia is the story of this inspired and critically acclaimed musical adaptation of Leo Tolstoy's "War and Peace."
The Broadway production of The Great Comet closed September 03, 2017. For current Broadway show listings and tickets, please click here.
From the producers: 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 fiancee 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, the lonely outsider whose love and compassion for Natasha may be the key to her redemption...and to the renewal of his own soul.
Audience Note: Strobe lights are used in this production.
"Natasha, Pierre & The Great Comet of 1812" (shortened to "The Great Comet") premiered in New York at Ars Nova Theatre Off-Broadway in 2012, and moved first to a tent in the Meatpacking District of Manhattan in May 2013, and then the tented production moved to a vacant lot in the Times Square theatre district later in 2013. In 2015 the show was restaged at American Repertory Theatre in Boston, expanding the show's signature intimate staging to a traditional proscenium-style theatre.
The cast of "The Great Comet" is headed by former "Hamilton" cast member Okieriete Onaodowan as Pierre. He is joined by Denee Benton, who is making her Broadway debut. Benton is reprising the role of Natasha that she played in the previous engagement of the musical at the American Repertory Theater in Cambridge.
Richly imaginative...[the] immersive world has been realized ingeniously. The large talented cast delivers the goods in director Chavkin's lively staging and there's much to admire in Molloy's wistful arias and rowdy beats. The production sometimes stalls and loses impact amid the sprawl and spectacle. Still, the show is bold and affecting.
[An] immersive experience...but one without any heart. It's pure showmanship with none of the emotional payoff. The addiction to descriptive passages grows weary and sometime seems just plain odd. The musical never finds a tonal sweet spot. [The production] got bigger without gaining any depth.
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: brisk and sexy and emotionally weightless.
New York Magazine
Groban sings not just beautifully but without irony...whenever he is singing the show feels genuine. But the misalignment of source and style is so severe - and is now so exaggerated by its Broadway hyperinflation - that it seems like an example of elitist decadence rather than the condemnation of it that Tolstoy intended.
New York Post
Magical...the brilliant director Chavkin and designer Lien have brazenly reconfigured a Broadway theater in ways you've never experienced. Malloy's exhilarating score manages to be both folksy and fit for a dance club at 3 a.m....one helluva great "Great Comet."
New York Times
Rapturous...the show remains a witty, inventive enchantment from rousing start to mournful finish. The dazzling staging, the vivid performances and the variety and richness of [the] music will provide pleasures that go well beyond the narrative...intoxicatingly good.
A massive, luscious, romantic escape...a splashy gimmick? Sure, but a big, stylish, enjoyable one. Meaningless, yes basically, but with storytelling sustenance alongside the environmental trappings we know as immersive theater. Inextricable from the music and story are the overwhelming sets and costumes - sensory overload with little on its mind except offbeat entertainment.
Time Out New York
Transporting...Director Chavki's approach to the show - spectacular yet intimate, theatrical yet personal - is an ideal complement to Malloy's brilliantly unconventional musical. Despite the romantic trauma of the plot, "The Great Comet" leaves you glowing with hope...it's a wonderful, soul-stirring escape.
Musically lush and visually opulent...no matter where you're seated, you're never far from the action because the action is all over the theater. Groban, in gorgeous voice, is a soulful Pierre. Malloy, who wrote the marvelous book, tuneful music, and smart lyrics, understands and even admires the members of this aristocratic society.
June 9, 2017
What a fun way to learn a little Russian literature...never read "War & Peace" but am certain THIS was far more entertaining!! Josh Groban was, as expected, fabulous, and Denee Denton (not a known Bway commodity) as Natasha was fabulous....the dancers, musicians are wonderful & audience interraction makes for a raucous evening...all in all, just a terrifically entertaining 2 hours!!!
May 20, 2017
I loved the interaction between the actors wandering and mingling with the audience.
The lanterns greater intensity as the music and actors' involvement became more intense. The actors' entrances and exits didn't distract one's attention from those actors who were performing elsewhere on the stage.
January 7, 2017
An operatic presentation that brings the audience into the production as well. A wonderful production with beautiful singing.