Bursting with energy and fuelled by an eclectic, multi-genre soundtrack, Natasha, Pierre & the Great Comet is a starry-eyed story of debauchery and hedonism in the midst of war.

Set in 1812, this musical adaptation of a chapter of Tolstoy’s War and Peace follows young and spontaneous Natasha and cynical, lonely Pierre. While awaiting the return of her beloved Andrey from war, Natasha meets and falls for the handsome, married Anatole during a scandalous night at the Opera in Moscow, a city exploding with hedonism and opulent excess. Meanwhile Pierre despairs over what he considers his meaningless existence, until he meets Natasha and makes it his mission to extricate her from risk of ruin and in doing so, finds his way.

In War and Peace, Tolstoy observed the indulgence and extravagance of the wealthy and upper class of Moscow, juxtaposed with the horrific experiences of those on the front lines of war. In adapting a snippet of the story for the stage writer Dave Molloy couldn’t have realised just how poignant the story would become, his original soundtrack that melds Russian folk and classical music with more modern electronica and rock mirroring the war going on in Ukraine while we sit comfortably in the theatre.

Darlinghurst’s cast includes an impressive selection of Aussie performers, almost everyone onstage dancing, singing and playing an instrument. Director Dean Drieberg and Music Director Claire Healy use every tool at their disposal to immerse the audience in the story and its music, including having the cast gallivanting around the multitiered stage, over tables and across a mid-audience runway in some moments, while in others reducing the stage to an inky black, with a single spotlight and a piano.  Ensemble songs are an absolute treat (Prologue, The Abduction), the performers clearly having as great a time performing together as we’re having watching them.

Natasha and Pierre, our protagonists, are both impressive vocalists. Grace Driscoll sounds every bit the naïve 19-year-old she’s portraying, her pure soprano cutting through the noise of the show (No One Else,), while Zoy Frangos plays piano for the bulk of the show, and sings with earnest, cynical and brave leans as Pierre evolves (Pierre, The Great Comet of 1812). Their final duet together (Pierre & Natasha) is a beautiful joining of their two stories although it does feel like it comes a little late, with Natasha’s storyline the dominant one by far. Kala Gare as Sonya and Marissa Saroca as Helene both perform stellar solos (Sonya Alone and Charming, respectively), and Jules Pendrith as Anatole wows with an incredible vocal range (The Duel, Preparations), clarinet mastery and bringing the drama as the villain of the story.

It’s a different kind of musical to grace a Sydney mainstage, and most definitely a strange but welcome one.

Purchase your ticket to Natasha, Pierre and the Great Comet of 1812 here.

Gruner Veltliner | Wine Pairing

Considering the obvious issues surrounding Russia, this wine pairing focuses on the unique soundtrack of folk, classical, electronica and rock in The Great Comet. Gruner Veltliner can be dry like a Sauv or sweet and syrupy like a Riesling, but it’s always textural and bursting with flavour.

Natasha, Pierre & the Great Comet of 1812, Darlinghurst Theatre Co | Tasting Notes

Aussie Season	9 July to 20 Aug 2023, Darlinghurst Theatre Company
Ticket $	$79-145
Writer	Dave Malloy
Director/Musical Director	Dean Drieberg / Claire Healy
Theatre Type & Genre	Musical, literature adaptation
See it if you like	The Great, Bridgerton
Wine Pairing	Gruner Veltliner
Criteria for Wine Pairing	Textural, intense flavour