When Natasha, Pierre & The Great Comet of 1812 premiered on Broadway, it quickly became known for its immersive staging, energetic score, and bold fusion of classical and contemporary styles. Now, in its London debut at the Donmar Warehouse, the musical is helmed by Tim Sheader, in his first production since becoming artistic director.
Set against the backdrop of Russian aristocracy during the Napoleonic Wars, the musical is based on a segment of Leo Tolstoy’s War and Peace. The complex plot (their words, not mine) follows the innocent Natasha Rostova as she embarks on a passionate love affair with the reckless Anatole Kuragin, only to face heartbreak and disillusionment. Meanwhile, Pierre Bezukhov, an awkward and introspective young nobleman, searches for meaning in his privileged but empty life.
Sheader’s direction ensures that these weighty themes remain compelling and accessible, with more than a hint of humour thrown in, balancing the personal dramas of the characters with the broader political and social tensions of the time. The musical’s ability to navigate between the epic and the intimate is one of its key strengths, with Sheader guiding the actors through both grandiose spectacle and quieter, more introspective moments.
Sheader fully embraces the boldness of the original while infusing it with a new energy. The direction makes excellent use of the entire stage, the band often spilling onto the stage creating a more fluid space.
The set design by Leslie Travers is industrial, and at times overly stark. Yet, the space feels alive, with multiple levels and dramatic lighting by Howard Hudson that emphasises the emotional highs and lows of the characters’ journeys. The visuals work in tandem with the energetic choreography (Ellen Kane) to create a sensory experience that matches the intensity of the music.
Dave Malloy’s score remains the heart and soul of The Great Comet. Its blend of rock, classical, and electronic influences creates a unique soundscape, which drives the emotional core of the story. The prologue introduces us to the vast cast of characters, perhaps all musicals should start this way! And the music is as varied as the characters themselves, from the stirring intensity of “The Great Comet of 1812” to the aching vulnerability of “No One Else.”
In this production, the score takes on even greater significance, with the music often feeling like an extension of the characters’ emotions. The ensemble, which is a vital part of the show’s sound, delivers the score with precision and passion, ensuring that every note, every beat, resonates with the audience. Key moments, particularly in Pierre’s and Natasha’s respective emotional arcs, are elevated by the music’s capacity to both energise and ground the action.
As beautiful as the rest of the show is, it’s the stand out performances that make this production electric, with the lead actors bringing both depth and charm to their roles.
Natasha’s journey from naïve infatuation to disillusionment is sensitively portrayed by Chumisa Dornford-May, capturing both her youthful passion and her eventual heartbreak. Pierre, meanwhile, is played with a combination of awkwardness, vulnerability and soulfulness, Declan Bennett conveying the character’s internal struggles with quiet intensity and heartfelt vocals.
Speaking of vocals, Maimuna Memon astounds the audience with a flawless performance as Sonya, while the wider ensemble never lose connection with the audience.
The highlight of the evening is Jamie Muscato’s Anatole. Muscato is a walking, dancing, ball of energy, oozing swagger and sexual bravado at every opportunity. It’s easily one of the best stage performances of the year.
Natasha, Pierre & The Great Comet of 1812 maintains a dynamic and engaging tone throughout, balancing exuberant, fast-paced musical numbers with quieter, more reflective moments. The production’s pacing is masterful, ensuring that each emotional shift feels earned and never forced. The show’s whimsical, larger-than-life moments are tempered by the deep emotional stakes of its characters’ personal journeys, creating a sense of tension that propels the narrative forward.
As the characters navigate the highs and lows of their love lives and search for personal meaning, the show never loses sight of its deeper philosophical questions about fate, identity, and happiness. Pierre’s search for purpose and Natasha’s awakening to the complexities of the world around her are beautifully intertwined with the musical’s broader themes of self-discovery and growth.
Natasha, Pierre & The Great Comet of 1812 at the Donmar Warehouse is an emotionally resonant production that brings new life to a modern musical classic. Under Tim Sheader’s direction, the show pulses with energy, wit, and heart, successfully translating the grandeur of the original into a production that is as captivating and thought-provoking as it is entertaining. With a standout score, brilliant performances, and striking design, Sheader’s Donmar debut is intoxicating.
Natasha, Pierre & The Great Comet of 1812 is currently sold out, other ways to get tickets can be found on the Donmar Warehouse website.
