Natasha, Pierre and the Great Comet of 1812

The GhostLight Players at George Mason University

Photo credit: @theghostlightplayers on Instagram

In 19th-century Moscow, a comet has just lit the war-torn skies… and, quite possibly, a disheveled man’s heart.

The GMU GhostLight Players’s recent production of “Natasha, Pierre and the Great Comet of 1812” (hereafter referred to as “Great Comet”) expertly brought a touch of modernity to Tolstoy’s literary classic. The dedicated cast and crew shone a light on this 70-page slice of “War and Peace,” and brought age-old characters to vivid life in the Harris Theater.

I mean…did I ever think I’d hear “War and Peace” characters inviting one another to “the clurb?” 

Not quite, but that’s what made this rendition of “Great Comet” so fantastic.

It’s a show that, despite the historical setting, manages to transcend time periods--and led by directing team James Gardiner and Jackie House, The GhostLight Players truly leaned into this aspect. Certain songs were reminiscent of mega-pop hit “Six,” while others echoed “The Light in the Piazza"; and yet, the show felt unified in its lush retelling of the tragic tale.

So, let’s hop onto Balaga’s troika, and take a wild sleigh ride into the depths of this retelling!

Natasha, Pierre and the Great Comet of 1812

Composer Dave Malloy pieced together “Great Comet” in 2012, and described the work as an “electropop opera.” It’s considered an opera in the sense that it’s entirely sung-through, similar to productions like “Hamilton” and “Les Miserables”…which are admittedly my favorite type of musicals, because you can basically experience the whole show by listening to the cast recording on a road trip.

Now, “War and Peace” deals with tons of intertwined families and character relationships. What makes it even harder to keep track of the story’s characters, as “Great Comet” relents, is that “they all have nine different names.” Luckily for us, Assistant Costume Designer Eli Nguyen drew a brilliant diagram in the playbill to illustrate these character relationships. 

For our individual characters, I’ll take things straight from the show’s prologue:

“Balaga is fun

Bolkonsky is crazy

Mary is plain

Dolokhov is fierce

Hélène is a slut

Anatole is hot

Marya is old-school

Sonya is good

Natasha is young

And Andrey isn’t here.”

Put them all in a room, and it’s no wonder the story’s called “War and Peace.”

So, to avoid your eyes glazing over, I’ll gleefully redirect you to the sparknotes summary of “War and Peace” if you’re curious about the goings-on of 19th century Russia.

As for this review, let’s take a peek into how The GhostLight Players brought this story off the page and onto the stage.

This Production

Natasha, our titular heroine, is described as “young” during the show’s prologue. Her impulsivity and childlike innocence are key to the story, as she haphazardly follows her heart in a direction that ultimately decides her ruin. Jennah Sidiabed’s portrayal of Natasha expertly exemplifies this girlishness. With pure vocals and doe-eyed wonder, Sidiabed illustrated Natasha’s lovestruck state, while also diving into fierce frustration during the moment of her betrayal. 

The very man who led Natasha’s heart astray, Anatole, was brought to life by Spencer Wilde. Every one of Wilde’s glances was calculated, as he schemed to get closer to Natasha, and eventually charm his way into her otherwise-devoted heart. (Side note to Spencer Wilde, if you’re reading this: PLEASE send me your hair routine). Brea Davis played his sister, Hélène, with an undeniable stage presence and equally mischievous malice. Her velvety vocals were entrancing in “Charming,” and she sweet-talked Natasha into attending that night’s Ball with remarkably sly intent. Another shout out goes to Elise LeGault’s spirited performance of Dolokhov, which got the crowd roaring with every mischievous smirk. 

In contrast, Katie Rowe inhabited the good-natured spirit of Sonya. In her unshakeable commitment to Natasha, Rowe delivered a heart-wrenching “Sonya Alone,” vowing to do what was best for her future. Similarly, Shannon Harrel delivered a powerful performance as Marya, especially as she put Natasha in her place with a furious rendition of “In This House.”

Finally, Brett Womack took on the tortured soul of Pierre. He reconciled with himself and his life during a dynamic rendition of “Dust and Ashes.” As the ensemble echoed behind him, Womack ascended the set and delivered the song’s closing phrase with stunning vocals, earning one of the most powerful moments of the show. Equally impactful was his final moment of connection with Natasha, where the two reflected on their circumstances and views of each other. 

Tech Spotlight

I was blown away by the ingenious technical elements of the show, so I’d love to give them an additional section for shout-outs!

To start with a spotlight in the literal sense, Mary Clare Bernier’s lighting for this production was beyond stunning. A canopy of string lights was suspended over the stage and into the audience, which immediately made for a rustic effect upon entering the theater. All throughout the production, these lights flickered in moments of discovery, or dimmed in moments of tragedy. The most impressive part of this fixture, however, was in the show’s final moments; when Pierre saw the titular Great Comet pass through the sky, the entire structure had descended toward the audience. The use of the string lights always made for a stunning visual, alongside the show’s other breathtaking washes of lighting during musical numbers and tense moments.

With the extravagant costumes and hair/makeup design by Channing Tucker, Eli Nguyen, and Taylor Payne, this period piece was injected with modern vividity. Characters of high status flaunted elegant gowns and tailcoats, and Andrey sported an elaborately decorated soldier’s uniform. Each of Payne’s larger-than-life hairpieces had a miraculous pop of color, from Hélène’s crimson curls to Old Bolkonsky’s pink powdered wig. This vibrancy was also reflected in the makeup design, where bold eyeliner and colorful eyeshadow were worn by the story’s most assertive characters. Each and every member of the ensemble put their own spin on this colorful twist to the historical story.

The pit, which was situated near the back of the stage, filled this show with its gorgeous soundtrack. From piano ballads to rock-inspired numbers, they expertly delivered the varying demands of this complicated score. Ariel Kraje layered this orchestration with incredible choreography, utilizing small groups of ensemble members to create a clean and powerful impact. Decked out in neon bracelets and glow-in-the-dark wear, the ensemble brought high-energy dance to fill the show’s exciting scenes at the aforementioned “clurb.”

Who is it for?

I don’t think I can name a single person who’s sat down to read the entirety of “War and Peace,” but I could rattle off an entire list of people who would enjoy this production. It’s got love, scandal, crazy sleigh drivers, and a comet: what’s not to like?

Plus, the story is beautifully told by the cast and crew. 

The show does include mentions of “addiction, suicide, gun violence, war, and sexual harassment,” and include “prop guns, strobe lights, fog/haze, and loud explosion sounds” as per the website. I’d personally recommend the production for ages 12 and up, since the plot does take some listening to follow and get the most out of.

“Great Comet” runs for two more performances this weekend: visit the Center for the Arts website for more information.