Natasha, Pierre, and the Great Comet of 1812, Donmar Warehouse - Breathtaking Story Through Song

Jamie Muscato and Daniel Krikler in Natasha, Pierre, and the Great Comet of 1812. Image by: Johan Persson

⭑⭑⭑⭑ - 82% • 3 minutes 23 seconds read time

The Donmar Warehouse’s production of Natasha, Pierre, and the Great Comet of 1812 takes a bold step away from its roots. Known for its actor-musician format in previous iterations, this staging opts for a more traditional orchestral arrangement. While some may miss the charm of actors doubling as instrumentalists, the change sharpens the focus on characterisation and storytelling, allowing the cast’s acting prowess to take centre stage.

For the uninitiated, The Great Comet -Dave Malloy’s genre-blending masterpiece - is drawn from a 70-page excerpt of Tolstoy’s War and Peace. It follows Natasha’s ill-fated romance with the rakish Anatole, her subsequent heartbreak, and eventual redemption, all framed by Pierre’s philosophical musings and existential struggles. The result is a dizzying mix of passion, betrayal, and introspection, set to a kaleidoscopic score.

One of the triumphs of this production is how the cast navigates the complexity of Malloy’s score, blending beautiful vocals with deeply rooted emotional authenticity. This isn’t a production where the audience is swept along by pretty voices alone - there’s a tangible depth here, a commitment to acting through song that brings the material to life in vivid detail.

Leading the production is Chumisa Dornford-May as Natasha, a performer whose star is unmistakably on the rise. Only two years out of drama school, Dornford-May has already established herself as a leading talent, and her performance here reinforces that reputation. She captures Natasha’s youthful innocence and emotional turmoil with remarkable nuance, portraying her journey from blissful naivety to heart-wrenching despair with a sincerity that is utterly compelling. Vocally, Dornford-May is astonishing, with a maturity and control far beyond her years. It’s clear we are witnessing the early stages of a truly exciting career.

Jamie Muscato’s Anatole is a similarly layered performance. Anatole’s charisma and recklessness make him a thrilling, if morally dubious, character, but Muscato brings a welcome vulnerability to the role. He is undoubtedly brash and self-serving but beneath the bravado, there’s a flicker of humanity that draws the audience in, making him more than just a charming antagonist. There’s an emotional layering to his performance that makes Anatole both infuriating and oddly sympathetic, a testament to Muscato’s ability to find humanity in even the most morally ambiguous characters.

Cedric Neal, though underused in the role of Balaga, delivers one of the evening’s most memorable performances. His scenes are electric, a reminder of his immense talent and Olivier-nominated pedigree. Neal transforms even the smallest moments into standout highlights, leaving no doubt as to why he is such a celebrated performer. For many, his dynamic presence will be a lasting memory of the production.

The point of contention though is Pierre. Declan Bennett steps into the role, and while his performance is dynamic and layered, the character itself poses challenges. Despite being one of the titular figures, Pierre often feels like a secondary presence in the narrative. Bennett’s portrayal is undoubtedly compelling, but the character’s narrative weight feels unbalanced compared to the other leads. This imbalance makes it hard to fully understand why Pierre is given equal weight in the title. Bennett’s performance is strong, full of vulnerability and introspection, but the character’s limited narrative focus leaves him feeling more like a supporting player than a true lead.

Directed by Tim Sheader, The Great Comet works delightfully in the intimate space of the Donmar Warehouse. The absence of the actor-musician dynamic shifts the production’s tone, but the more traditional setup highlights the emotional intensity of the performances and brings a richer orchestral sound. The staging is minimal, and whilst it would have been a treat to see decadent decor that transports you to the wealthy Russian elite, this understated interpretation sort of feels as though you’re at a cosy candlelit cabaret.

However, the narrative’s density can occasionally overwhelm. Rooted in Tolstoy’s sprawling epic, the story sometimes feels like a puzzle missing key pieces. For newcomers to the material, the connections between characters and events may take time to fully click, especially when it comes to Pierre’s role in the broader story.

Despite the few moments that didn’t click for me, this production is another triumph for the Donmar Warehouse, adding to its recent string of successes. With the run already sold out, speculation about a West End transfer feels inevitable, and it’s easy to imagine this production captivating even larger audiences.

In a theatre landscape that often leans on safe revivals and jukebox musicals, Natasha, Pierre, and the Great Comet of 1812 offers something refreshingly unique. The Donmar’s interpretation captures the spirit of Malloy’s work while carving out its own identity, giving audiences a show that is vibrant, emotional, and brimming with talent. If you managed to secure a ticket, prepare to be utterly blown away by the talent up there.

Natasha, Pierre, and the Great Comet of 1812 is on at the Donmar Warehouse until February 8th.