BEDAZZLED WAR AND PEACE SIZZLES ON STAGE
Let’s face it: If you haven’t read Leo Tolstoy’s 1869 novel War and Peace by now (with its 1400-plus pages), you probably aren’t ever going to. Fortunately for you, Dave Malloy read it and apparently loved the heck out of it. So much so, in fact, that he re-read the eighth part of it, comprised of about 70 pages, and declared, “This part should be a modern-music opera off-Broadway in 2012.” Okay, he may not have said those words, but that’s basically what happened, with Mr. Malloy creating all the music and lyrics, eventually taking it to a full Broadway stage in 2016. That production was nominated for twelve Tony awards, including Josh Groban for his role as Pierre, one of the two leads. Missed it on Broadway? Then do not miss Sean Murray’s spectacular interpretation at Cygnet Theatre.
Kürt Norby
First, if your mind goes immediately to “But I missed the first seven parts of War and Peace!”, relax. Malloy assumes that’s the case, so the opening number takes us to 1812 Moscow where the characters are all introduced through a clever prologue song. The opening is reminiscent of “The Twelve Days of Christmas,” in that, by the end of it, with all the repeating throughout, you really do know who all the characters are. The playful song fills in all the needed background to ready the audience for the show ahead.
Megan Carmitchel, Linda Libby, Selena Ceja
Our story starts by introducing us to Pierre (Kürt Norby), a corpulent, over-drinking homebody who is well-past his prime and wasting his life. We cut to Pierre’s younger, virile friend Andrey (Brian Mackey), who is going off to war and saying goodbye to his betrothed, Natasha (Selena Ceja, recently terrific as Wednesday Addams at SDMT). The next night at the opera, Natasha meets eyes with Pierre’s wife’s brother, the captivating Lothario Anatole (Michael Louis Cusimano). Anatole spares no time in putting the moves on her and making her question whether she should marry Andrey after all, or commit to Anatole with all his charms. Friends and family get dragged into her conundrum as we are exposed to a variety of high society characters ranging from the three families involved to friends of each.
Brian Mackey, Kürt Norby, Selena Ceja
The story is interesting enough, but despite 150-year-old solid literary roots, the plot almost pales in comparison to what Malloy, Murray, and the cast do with it. First off, Mr. Murray seems to challenge himself to use every ledge, row, and corner of Cygnet to keep us looking everywhere. Second, the characters are beautifully defined; the ten actors play heaven knows how many parts; yet, despite a ton of Russian names, there’s just no mixing any of them up. Mr. Murray’s direction is tremendously broad-humored, bordering on using clowning techniques at times, leading to far more laughs than Tolstoy could ever have dreamed of for this content. Yet, it’s not really a comedy; it’s just damned entertaining. Mr. Mackey, who is well-known locally for his physical comedy prowess, doubles as Andrey’s cranky and addlepated father, yielding a lot of fun.
Cast of Natasha, Pierre & the Great Comet of 1812
One of the conventions of the script — that doesn’t sound like it should work, but totally does — is that the characters often break into asides, referring to themselves in the third person, using direct lines from a 1922 interpretation of War and Peace. Sometimes, they are discussing others: “He [Anatole] moved in a way that would have been ridiculous – if he’d not been so attractive.” At one point, the actor playing Anatole declares about his own role: “Anatole followed him [Pierre], with his usual gaudy step, but his face betrayed him,” and then returns to speak in character.
Michael Cusimano
Musically, every word is sung, so it’s operatic in that sense (and there are certainly some big voices on stage, especially in Mr. Norby), but the music styles vary tremendously, including rock, Russian folk, classical, ballad, even a nearly country song by Natasha’s best friend Sonya (Megan Carmitchel). Musical direction of the live, center-stage band by Patrick Marion is lively, crisp, and impassioned.
Luke Harvey Jacobs and cast
The potentially unsung hero of the show is Katie Banville’s choreography. While some dance routines (especially a wedding-like scene) are big, bold and beautifully eye-catching, Ms. Banville’s work is integral to everything that happens for the entire two-plus hours. Because the show is all music, it’s pretty much all choreographed as well. When asked about where her choreography leaves off and Mr. Murray’s direction comes in, Ms. Banville laughed and said, “There was no border. It needed to be seamless between Sean and me. Fortunately, I’ve worked with Sean a lot in the past and our styles blend well so I felt sure it would work here.” The result shows that her instinct was correct.
And the outfits! Shirley Pierson’s costumes (with wigs and make up by Peter Herman) are outstanding. By far her pinnacle costuming moment is when the characters are at an opera and actors come out with multiple masks around their heads, allowing them to appear like three or four different characters as they turn slightly. It is not only effective for the purpose, but visually stunning.
The complicated, easy-to-forget title is unfortunate. The comet reference in it does finally come along in a very minor way toward the end, but it’s more symbolic and isn’t highly integral to the rest of the story.
The show just isn’t like anything I’ve seen before and entertains from start to finish, including a show-stopping moment in Act I after a song by Mr. Norby where the band was clearly waiting for the cheers to die down so they could continue. Of my nineteen theater reviews so far in 2024, this production at Cygnet ranks as my number-one San Diego must-see of the year.
Kürt Norby
photos by Karli Cadel Photography
Natasha, Pierre & the Great Comet of 1812
Cygnet Theatre Company
Old Town Theater, 4040 Twiggs St.
Wed – Fri at 7; Fri at 8; Sat at 2 & 7; Sun at 2
ends on May 19, 2024
for tickets (starting at $44), call 619-337-1525 or visit Cygnet
