Natasha, Pierre & The Revival at Royal Alexandra Theatre
Natasha, Pierre & The Great Comet of 1812 Soars in Monumental Remount
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A Dazzling Spectacle That Exceeds Expectations
The much-anticipated remount of the indie musical Natasha, Pierre & The Great Comet of 1812 has landed with a resounding triumph, proving that this genre-bending operatic marathon is not only possible but extraordinary in a larger venue. Director Dmitry Troyanovsky and his team have masterfully adapted the show for the grander stage, delivering a production that is sharper, funnier, and more tender than its acclaimed predecessor, all while offering the welcome bonus of more legroom.
A Stellar cast Anchors the Grandeur
At the heart of this monumental production are the captivating performances of its leads. Luke Gills, returning as the titular Natasha, and Evan Buliung, reprising his role as the brooding Pierre, are nothing short of astounding.While thier previous performances at Crow’s were intimate and powerful, their work in the larger space feels even more supple and resonant. Gills’s airy soprano voice drifts through the theater like a delicate snowflake,perfectly capturing Natasha’s youthful exuberance and eventual despair. Buliung’s resonant growl effectively conveys Pierre’s biting, scholarly melancholy. Their final duet, aptly titled “Pierre & natasha,” is a quiet, devastating masterpiece, effortlessly conversational and note-perfect against a simple piano underscore.
The supporting cast shines just as brightly,with many performers elevating their roles from the previous staging. Heeyun park, who garnered significant acclaim last year for her nuanced portrayal of Mary, continues to imbue the character with surprising depth, even with limited dialogue. Andrew Penner’s Balaga remains as wildly off-the-wall as ever, delivering a second-act star turn that is arguably the highlight of the entire show.
Vanessa Sears, a new addition to the production stepping in for Camille Eanga-Selenge, offers a stunning counterpoint to Gills’s Natasha. Sears masterfully navigates Sonya’s anguish, finding the perfect moments to belt out her character’s pain before subtly reeling it back in.Her vocal performance is a pleasure, hinting at great things to come when she takes on the title role in Mirvish’s Canadian production of & Juliet.
An Immersive and Energetic Experience
The ensemble, under Abraham’s direction, rises to the challenge of Malloy’s ambitious vision. The production is a whirlwind of energy, with performers racing up aisles, scaling impressive staircases, and even inviting audience members to join them on stage for a dance. At times, the experience feels akin to being in the midst of The Lion king, a testament to the immersive and dynamic staging.
While the larger space might lend itself to a slightly less intimate feel than last year’s production, this remount compensates with a heightened sense of spectacle and polish.The creative team, including choreographer Robert McQueen, set designer Ken MacDonald, costume designer Ming Wong, lighting designer Kimberly Purtell, and sound designer Brian Kenny, have collaborated to create a visually stunning and sonically rich environment. Music director Ryan deSouza’s guidance ensures that the complex score is delivered with precision and emotional impact.
A Resounding Success
There is little to fault in this monumental revival. Natasha, Pierre & The Great Comet of 1812 has not only met the high expectations set by its previous run but has surpassed them. The production has soared higher, shone brighter, and dreamed bigger, solidifying its place as a landmark achievement in Toronto theatre. This is a must-see production that continues to captivate and move audiences.