Production of ‘Natasha, Pierre and the Great Comet of 1812’ soars despite soft material
Mounting a production of the pop opera Natasha, Pierre and the Great Comet of 1812 is a major undertaking for any theatre company, especially one without the resources of a Broadway show. But Arvada Center has risen to the challenge of this musical adaptation of a section of Tolstoy’s masterpiece War and Peace. The Broadway original (it had been produced off-Broadway before that) won 12 Tony Award nominations for this semi-immersive, frolicking blockbuster.
The story is simple (although the Arvada Center ushers suggest that attendees read the synopsis before the show begins). The central narrative is an ill-fated love story between the young and naïve Russian countess Natasha and the married playboy Anatole. There are a number of subplots, with the main one of those focusing on the wealthy but unhappily married Pierre (a magnetic Brett Ambler).
Pierre spends much of his time lamenting his personal woes and Ambler’s powerful rendition of the song “Dust and Ashes” is a showstopper. With his melodic voice and subtle shifts of facial expression, Ambler’s anguish is a heart-wrenching counterpoint to the swagger of Anatole (Jack Wardell) and the self-absorption of various other characters. The show depends on a multi-talented cast of soloists who sing, dance, play instruments and generally cavort around with gusto on a multi-tiered set. Arvada Center easily delivers here.
Photo: Amanda Tipton Photography
Solid production
Of special note in smaller roles are Nicole deBree as Pierre’s adulterous wife, Helene; Anna Maria High in the role of Natasha’s aunt Marya D; and Aynsley Upton as Natasha’s cousin Sonya. Each has a memorable aria and all three have lovely voices providing many moments of beauty. Another high point is Bryce Baxter’s solo kazatske (a Russian folk dance) which is not to be missed — even though it takes place on a staircase that may not be visible to the entire audience.
As the central couple, Bella Hathorne (Natasha) and Wardell (Anatole) do a serviceable job, although there is little sexual chemistry between them, which undermines the forward thrust of the story. Wardell does a yeoman’s job of bouncing around the set – and into the audience – demonstrating impressive physical prowess, but neither he nor Hathorne undergoes the personal transformations the evolving relationship of Natasha and Anatole demands. The result is a one-note romance that goes nowhere.
Apart from the memorable performance of Ambler, it is the effect of the overall production values that remains most in the memory. Brian Mallgrave’s scarlet red jewel box of a set, which encircles the black box theatre with immersive seating, creates the ultimate 19th century Russian drawing room festooned with golden sconces, glittering crystal chandeliers and hanging portraits of dignitaries (in this case the cast members, wink wink).
Arvada Artistic Director Lynne Collins’ direction is inspired, especially given the complexity of the physical set. She really shines in the ensemble sections when the entire cast bounces around the full space, including the tiered seats, in an explosion of energy and cohesion. Add to this the dynamic playing of the five-person orchestra under the direction of David Nehls, Jon Dunkle’s luminous lighting and the extreme physicality of Grady Soapes’ choreography and Arvada Center’s team has a winner on its hands.
Photo: Amanda Tipton Photography
Uneven material
Despite all the kudos this production deserves, there are some basic flaws in the show, which defines itself as an opera. Created by Dave Malloy, who wrote the book, music and lyrics, the flow of the story never quite coalesces and ultimately feels slight and superficial. This has been a criticism of other productions as well, including the Broadway version, so it’s obvious the problem is in the script rather than that of any particular cast. The result is that what should be an intense drama of star-crossed lovers ultimately falls flat.
Malloy’s score poses its own problems. It’s an eclectic mix of pop, balladry, Slavic folk music and various other forms, but there are very few identifiable songs or arias. The largely sung-through score contains too much recitative and not enough melody as is usually found in opera and traditional musical theater. Although the music moves the action along and creates a sound bed of kinetic energy, it doesn’t stand on its own except in a few rare moments.
Anyone who has read War and Peace and expects a faithful rendering of Tolstoy’s masterwork will be disappointed. The story comes from just one section of the novel and is a contemporary romp, not a historical evocation of a time and a culture long past. If audience members can accept and appreciate it on those terms, there are many pleasures to behold.
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