Reviews: Natasha, Pierre & the Great Comet of 1812 at Independence High School
Written by Ella Jaffee of Woodgrove High School
Chandeliers and caviar, absolutely nothing can touch Natasha, Pierre, and the Great Comet of 1812 at Independence High School!
Written and composed by Dave Malloy, Natasha, Pierre, and the Great Comet of 1812 is a musical adaptation of a 70-page section of War and Peace by Leo Tolstoy. Premiering off-Broadway in 2012 and on Broadway in 2016, the story follows Natasha Rostova, a young Russian woman, who, while her fiancé is off at war, has an illicit affair with the charismatic Anatole Kuragin. The scandal causes chaos and discord within Natasha's circle of family and friends, and Pierre Bezukhov, a friend of Natasha's fiancé who is coping with the hardships of life, is called in to aid the situation. A gorgeously electrifying tale of love and heartbreak, the pop-opera perfectly captures the melodrama of classic Russian literature, bringing 19th-century Moscow to life upon the modern stage.
In the first titular role was Alexa Gilligan as Natasha, who masterfully encapsulated the character's charm with her sweet soprano that rang out beautifully in numbers such as her ballad "No One Else." She depicted Natasha's youthful naivety clearly through her acting, staring bright and bold and becoming cynical as her story unfolded before her. This perfectly juxtaposed the character of Pierre, played by Elijah Flores. Flores' performance portrayed Pierre's jadedness and reserve brilliantly, and showed clear attention to detail in every aspect. His acting was refined down to the subtlest moments, such as when he delivered the only spoken words in the musical to the forlorn Natasha. In their contrast, Gilligan and Flores, despite only meeting at the end of the show, made an incredible duo throughout.
Another captivating performance was that of Lily Knoll as Sonya, Natasha's cousin and closest friend. Acting as the voice of reason, Knoll gave a stunning performance, showing Sonya's genuine care and worry for her cousin so endearingly through her impeccable facial expressions of concern and determination and gorgeous vocals, unwavering in her protection of Natasha. Equally breathtaking, though in a much different manner, was Taylor Honesty as Hélène. Honesty was absolutely alluring in every aspect of her performance, with striking belts and an impressive growl that matched the intensity of her character wonderfully. Bold and unabashed, Honesty's Hélène was exceptionally charming.
The choreography in the show was absolutely extraordinary. The choreography team (Lily Knoll, Lindsay Brody, Alexa Gilligan, Sam Knispel, Makena Smith) was inspired by Russian folkdance and executed it with perfect precision. The formations in ensemble numbers such as "The Abduction" were clean and in-sync, and each dance number introduced a unique and enchanting style, such as the story told through movement by the Opera Dancers (Charlotte Ouimet, Grace Sivori, Nathan Pepling).
This vignette in the song "The Opera" was set in a magnificent opera house inspired by the Mariinsky Theatre in St. Petersburg. The set, designed by Margaret Jones, Lorelei Timcheck, and the scenic design crew, and with building led by Yousif Abdin and Riley Roberts, included multiple levels of awestriking beauty, adorned with opera boxes and alcoves. The theatre-within-a-theatre was revealed from behind wonderful sliding walls, moved smoothly without flaw by the stage crew (Yuki Yeh and the ITPA Run Crew) and captured the magic of the novelic world.
Independence High School's Natasha, Pierre, and the Great Comet of 1812 was a captivating modern telling of a classic story that was dazzlingly bewitching in every element - from music, to storytelling, to the fantastic tech that brought it all together - shining as brightly and brilliantly as a comet tracing its parabola across the sky.
Written by Terrell Armstrong of Riverside High School
In a society on the edge of ruin, the only true thing is a change of heart.
Independence High School's production of Natasha, Pierre, & The Great Comet of 1812 transformed Tolstoy's prose into a pulse-pounding electropop opera, proving that even amidst the cold extravagance of 19th-century Russia, the human spirit remains the most volatile force of all.
In 2012, Dave Malloy adapted a 70-page slice of War and Peace into a the musical that follows the naive Natasha Rostova as she falls under the spell of the rakish Anatole Kuragin while her fiancé is away at war. Meanwhile, the weary and cynical Pierre searches for meaning in a life of idle wealth and existential drift. As Natasha's reputation is jeopardized by a scandalous seduction, the story explores themes of redemption and the search for light in a cold, unforgiving world.
Alexa Gilligan portrayed Natasha with a masterclass in expressive storytelling. While her character remained an emotional anchor amidst the surrounding chaos, Gilligan's vocals were truly striking, conveying a wide emotional spectrum from naive longing to devastating heartbreak. In contrast, Taylor Honesty was absolutely magnetic as Hélène. Commanding the stage with a powerful presence, Honesty captivated the audience every time she appeared. Her rich, resonant vocals were matched only by her magnetic stage persona, making Hélène the undeniable center of gravity in every scene she inhabited.
The ensemble's cohesion and energy reached a fever pitch during "The Abduction," the production's standout musical number. Featuring high-stakes lifts and unique formations, the song was a masterpiece of controlled chaos. The student-led choreography team of Lily Knoll, Lindsay Brody, Alexa Gilligan, Sam Knispel and Makena Smith succeeded in blending traditional Russian styles like the Troika and Khorovod with modern intensity, creating over 52 minutes of original movement. Charlotte Ouimet stood out as a specialized Opera Dancer, utilizing stylized influences to represent the darker undercurrents of the narrative.
The technical world was equally impressive, led by the ITPA Scenic Design Team. Inspired by the Mariinsky Theatre, the set featured six moving walls on three separate tracks, allowing for seamless and dynamic environment shifts that mirrored the show's fast-paced narrative. These visual triumphs were further supported by Costume designers Laila Henderson and Miley Berger, who hand-constructed pivotal items like Natasha's overskirt and Pierre's vest. Under the leadership of Stage Manager Risha Gandham, the technical execution ensured that the complex movement of the set and the 86 total cues were coordinated with precision.
Ultimately, Independence High School's The Great Comet of 1812 was a triumph of student leadership. By leaning into the wonderfully strange spirit of the source material, the production reminded us all that even in a world of frozen winters, the "great comet" of life still burns bright.