OREM — Natasha, Pierre, and the Great Comet of 1812 is a musical that hits the ground running. The opening number is fast, the relationships are complex, and the characters are bold. Because of these characteristics, the script can quickly overrun any performance. However, Utah Valley University’s production of Great Comet powerfully takes the reins. With incredibly talented actors, breathtaking design, detailed direction, and a live band that sounds too good to be true, this production is a complete triumph.
Natasha, Pierre, and the Great Comet of 1812 tells the story of Natasha Rostova, a young woman visiting Moscow in hopes of seeing her betrothed, Andrey. While Andrey is still away at war, Natasha comes across a multitude of characters ranging from Bolkonsky “the Crazy” to Anatole “the Hot,” and many more. One of these characters is Pierre, a depressed nobleman in a loveless marriage. Written and composed by Dave Malloy, this 70-page selection of Tolstoy’s War and Peace is brought to life with lively music and lots of sung narration.
When I walked into the Bastian Theatre at UVU, I was immediately transported to Russia in 1812. Set in the round, the audience is seated throughout the stage, with 4 table areas specifically designated for audience interaction. The scenic design by Richard Lorig crafts the feeling of being in an intimate Russian pub, where socializing with actors and other audience members is not strange, but even encouraged. Additionally, the painted wood flooring in the center of the stage is so realistic-looking in the black box that one’s mind can’t help but become fully embedded in the 19th century world. This, combined with wooden barrels, detailed Russian architecture, and aesthetically mismatched chandeliers creates an immersive theatrical experience for each audience member.
Even more, once the audience is sat in this new (old) world, they are transported and immersed again with the surround sound of a live band that is tucked into each part of the stage. This live band, conducted by Peter Blackham, is so acoustically clear and well-balanced, due to sound designer Andrew Domyan, that I consistently found myself forgetting that it was live. Only in moments of magnificent solos, such as the oboe accompaniment during “Dust and Ashes” or Travis Lunt’s accordion solo in “Letters,” did I find myself focusing more on the music. Otherwise, the band blended seamlessly with the performers.
Speaking of performers, it is difficult to give sufficient recognition to each actor in this impeccable and large cast. The show is already filled to the brim with extremely animated characters, but each cast member worked tirelessly to add dimension to their role. This is the case with Kaylee Wheeler as Natasha. Wheeler emphasizes the youthfulness of Natasha with her sweet voice and wide-eyed expressions. She is expertly aided by costumer designer Priscilla Hao, as Wheeler’s white dresses contribute significantly to the angelic, innocent portrayal of the title character. Hao utilizes all her beautiful costumes as an extremely useful tool to help the audience determine and remember the characteristics of each of the many characters.
Director Chase Grant excels in pacing his actors, dedicating time for the slow moments to sink in, and knowing when to push the cast to their top speed. This is especially apparent in the show-stopping numbers “Preparations,” “Balaga,” and “The Abduction.” These three songs blend into each other and involve nearly the entire cast in the most high-energy, fast-paced, and impressively acrobatic numbers of any show I’ve seen in a long time. Standout Isaac Dorton as Dolokhov “the Fierce” shows his musical prowess with intense paces and charismatic dance moves. Charisma is also one of the defining characteristics of Kegan Bjornn’s performance as Anatole. While initially his charisma is his main tactic in Act I, Bjornn stretches beyond the one-sided approach in the action-packed Second Act, demonstrating his vocal, rhythmic, and violin agility.
Similar to Dorton and Bjornn, Gracie Griffin as Sonya receives her chance to shine in Act II of the musical, specifically the song, “Sonya Alone.” Griffin’s sincerity of performance creates a heartbreakingly realistic pain when her character fights with Natasha. While it might be easy to see her character as simple, her depiction brings great emotional depth.
Hyrum Housley joins Griffin in this arena of subtle depth. As Pierre, Housley is onstage for nearly the entire show, yet does not speak for large segments at a time. However, when he does, Housley commands the stage by inviting the audience inside Pierre’s mind, drawing everyone to him instead of forcing a loud, outward performance. This direction of Pierre’s character wisely allows him to lead the story, greatly contrasting the other performances that demonstrate social desperation throughout.
Other highlights of the cast are Hanna Schneck as Marya and Dylan Thomas as Bolkonsky. Both of these college students bring a powerful presence to their authoritative roles, portraying a godmother and elderly father with skill. In fact, each student actor clearly dedicates a large amount of time to understanding the script. While there may be a few instances of confusion based on the direction of the piece, with such an emotionally complex script, these moments are few and far in between, making them hardly noticeable.
Overall, Natasha, Pierre, and the Great Comet of 1812 at Utah Valley University is a remarkable piece of live theatre. The experience of being a part of the set is entertaining enough, and then there is even a thrilling performance on top of it. You don’t miss out on the quality performances from the cast and the live band at UVU.
Natasha, Pierre, and the Great Comet of 1812 plays at the Bastian Theatre at Utah Valley University (800 W University Pkwy, Orem) until March 7th. For more information, see their website here: https://www.uvu.edu/arts/events/