Natasha, Pierre & the Great Comet of 1812 - Review of Opera at Crow’s Theatre

Natasha, Pierre & The Great Comet of 1812 is a full-blooded and marvelously produced opera by Dave Malloy who wrote the book and the music. It is now playing at Crowsnest Theatre, Toronto, at first blush an unlikely venue for an opera. Nonsense. The production is a triumph of singing and acting and in sheer theatricality it can compete with the best.
The opera is based on a small section of Leo Tolstoy’s War and Peace and the names Pierre and Natasha should ring a bell for most of us. Its plot may broadly be described as a snapshot of aristocratic life in Moscow during the Napoleonic wars with emphasis on love and the attendant complications that go with the latter.
The opera is composed with muscular, dramatic and melodic music that has Russian folk and modern rock elements in a robust sung-through style. About half of Crowsnest theatre is taken up with the stage and there is an elegant balcony on three sides of the theatre. The actors and musicians make full use of the stage, the extensive balcony as well as the audience area. They act, sing and move with superb energy, involve audience members and put on an extraordinary, jaw-dropping show.
There are eleven characters, several ensemble members and about half a dozen musicians that sound like a small orchestra. Many of the actors are in fact musicians and you will see them playing viola, piano, accordion, bass, guitar, oboe, cello and more instruments. The musicians can be on the stage, on the balcony or somewhere near the audience. They are intrepid musicians and not a band in the back or on the side.
The plot is about love, betrayal, loss of innocence and life in 1812 Moscow. Pierre (Evan Buliung) is a depressed Russian aristocrat married to Hélène (a very lively Divine Brown) who may best be described as a slut. The lovely Natasha (Hailey Gillis) is engaged to Andrey (Marcus Nance), Pierre’s brother-in-law who is away fighting Napoleon. We are ready for complications as the handsome and dissolute Anatole (Andrew Krissa) sees her and mounts an erotic attack that makes her forget Andrey. Adding to the complications is the fact that Anatole is already married but Natasha does not know that.
While on the infidelity wavelength, Hélène flirts with Dolokhov (Lawrence Libor) and Pierre challenges him to a duel. Dolokhov misses, Pierre wounds him and the plot continues. Natasha’s betrayal of Andrey creates some emotional curls and her cousin Sonya (Camille Eanga-Selenge) intervenes to no avail. Natsha plans to elope with the rake Anatole. Enter the riotous cart driver Balaga (a feisty Andrew Penner) who is to facilitate the elopement but it is unraveled by Marya D. (Louise Ptre) Natasha’s godmother.
Events pick up speed. Andrey returns from the war. Natasha tries to commit suicide. Andrey refuses to forgive her for her indiscretion. Pierre and Natsha finally meet and he is attracted to her. The comet of the title finally appears and Pierre and we may take it as a positive portend and a sign that he and Natasha may find love and happiness together. End of opera.
Director Chris Abraham with Choreographer Ray Hogg and Music Director Ryan Desouza put on a phenomenal show. There are obvious complexities of musical performance, movement and vocal execution and perhaps more of imposing and maintaining disciplined delivery. All of this is delivered with admirable expertise.
Natasha, Pierre & The Great Comet of 1812 has been around for about a decade and produced in many venues around the world. Covid delayed its production in Canada but it is here and what a stunning show it is.
Natasha, Pierre & The Great Comet of 1812 by Dave Malloy (composer, librettist and orchestrators and borrower from Tolstoy) in a production by Crow’s Theatre and The Musical Stage Company continues until January 28, 2024, in the Studio Theatre of Streetcar/Crowsnest Theatre, 345 Carlaw Avenue, Toronto, Ontario. http://crowstheatre.com/