Natasha, Pierre and the Great Comet of 1812

Despite the vague title and its off-putting origins (being based on a section of Tolstoy’s War and Peace), Natasha, Pierre and the Comet of 1812 is actually something quite special: a lively musical which will appeal to people who hate musicals.

This is a big show; arguably too big for the Donmar. It is the new AD Tim Sheader's first stab at directing a work in this space and it shows. In a venue that prides itself on having the audience up close to the action, he has somehow fitted in a cast of fifteen and a live band as an overhead sign that reads “MSCOW” (the first O missed out possibly due to the thing’s huge size) plus a metal halo that goes up and down in the middle.

And, yes, fifteen characters, many of whom get their personal intro right at the beginning along with a request that we read the programme to keep up with who is who (“they all have nine names”) as well as who they are related to or sleeping with. It has the potential for grand confusion but Dave Malloy’s superb script just rolls along and catches us up as necessary with just the right amount of exposition and reminders.

Natasha moves to Moscow to stay with her godmother Marya while her betrothed Andrey is off fighting Napoleon. Within a few days, the teenager falls for local bad boy Anatole, a handsome (and he knows it) blond womaniser. Pierre is asked by Marya to rein in his married brother-in-law before Andrey returns.

It’s a high-octane affair which, in the confines of one of London’s smallest West End theatres, never feels claustrophobic. This tale is only a small part of the original book but Malloy expands it into an emotional epic which absolutely gallops through 140 minutes of sung-through narrative and songs. Chumisa Dornford-May as Natasha is a revelation, creating a sympathetic character from the rich and vain woman. Jamie Muscato’s slyly seductive Anatole doesn’t hold back from his devilish path, not even when publicly challenged by his sister’s morose husband Pierre (Declan Bennett).

The costuming is easy on the eye and a mile from the formal wear of the age: Doc Marten’s, tight leather trousers, a BDSM harness and funky kilts are all thrown into the mix, adding a post-punk edge to this story of young lust. The simple set design relies on a few major props but, frankly, there’s barely space for a chair or table once the action gets going.

Both music and singing are top notch and, even if some of the lyrics are a bit pedestrian and the songs largely forgettable, it’s a ravishing journey from beginning to end.

Natasha, Pierre and the Comet of 1812 continues at Donmar Warehouse until 8 Feb 2025.


Photo credit: Johan Persson