There are so many hit musicals that British theatre fans dream of getting a London transfer: Beetlejuice, Death Becomes Her, Jagged Little Pill… the list goes on. Fortunately, a couple of years since transferring Next To Normal, the Donmar Warehouse have delivered another UK premiere of a Broadway favourite with their production of Natasha, Pierre and The Great Comet of 1812.
Before watching it, I had heard a few songs and liked what I heard, but was unfamiliar with the plot – except that it was based on War and Peace. As everyone knows that’s such a mammoth read, I was expecting the plot to be very heavy, but turns out it’s just based on a 70-page segment so isn’t too overwhelming to digest. Natasha falls for alluring Anatole, despite being engaged to Andrey who’s away at war. Meanwhile Pierre, the older and seemingly wiser brother-in-law of Anatole, is a bit lost and searches for some meaning in life. Looking back now aware of the plot, I’m surprised it sustained a 2h 20 long musical, yet through beautiful storytelling through song, it manages to do just that.
The direction by the Donmar’s new Artistic Director Tim Sheader makes the most of the space, but does focus the action towards the right and back of the auditorium with little concern for the left-side of the audience. Unfortunately being at that side, it did mean that we missed some major moments, and saw little of what took place on the balcony. I wouldn’t have minded if I’d booked restricted view seats, but they were not cheap so I expected to have a full view! The set’s layout would suit a traditionally tiered theatre more than the Donmar’s intimate U-shape configuration, so I think its direction would work if it gets a West End run.
When the casting was announced it was a major draw for me to see the show, and they certainly didn’t disappoint. Maimuma Memon was a stand-out as Natasha’s cousin Sonja, her emotion was palpable throughout but especially in act 2’s ‘Sonja Alone’ (take a look at the song titles in the soundtrack, they’re hilariously uninventive).
I saw an understudy for Natasha, Anna Majin who portrayed her character with a youthful naivety that you couldn’t help but feel sympathy for. Throughout the show, the other titular character Pierre transforms from weary and despairing to hopeful and optimistic, and Declan Bennett made this journey feel authentic. His performance of ‘Dust and Ashes’ towards the end of act 1, in which he realises he is wasting the life and needs to find love, was very moving.
One of my favourite musical theatre performers, Jamie Muscato’s performance as new-romantic styled Anatole was full of charisma and a joy to watch. His scenes often take place at a club or party and feel very hedonistic, especially ‘Balaga’ in act 2 which he shares with Cedric Neal; whose talent is sadly underused in the role of Balaga.
It’s by no means perfect, but Natasha, Pierre and The Great Comet of 1812 is a musical with beautiful songs and its Donmar production has a cast that bring out its best.
