WHAT: Natasha, Pierre & The Great Comet of 1812
WHERE: Seacoast Repertory Theatre
BLURB: A New And Exciting Musical
HIGH POINT: The Outstanding Performances
Natasha, Pierre & The Great Comet of 1812, making its regional debut, is a definite wow, with a capital W; a spectacle positively packed with talent.
The electro pop opera's music and storyline is truly intriguing. It may have a period setting, but its score, libretto and staging make it fresh and exciting. There's just a lot going on on stage - an engrossing, story, superb talent and lots of action.
The directors take lots of risks, some hits, some misses. But the excitement is such that it's easy to gloss over the weaker choices peppered throughout the production. These moments do little to diminish the tale, talent or vibrancy - beauty even - given the overall excellence.
Great Comet, set in Moscow is a period/timeless opera. It leans on historical fact, and certainly to its source, a segment of Leo Tolstoy's War and Peace. Then it goes on its own artistic, musical merry-way, while adhering to the important implications.
The tale is easier to follow than lead to believe, but it certainly doesn't hurt to read the playbill's synopsis.
In the briefest outline (try keeping up): Natasha, the innocent, (Sophie Mings) is engaged to Andrey (Sean Mullaney), who's currently fighting in the war.
She and her cousin Sonya (Alexandra Mullaney) visit Marya, (Alyssa Dumas) Natasha's godmother, with plans for the betrothed to drop in on her unwelcoming, future in-laws, Andrey's father Prince Bolkonsky (Ben Hart) and sister Mary (Michelle Faria). Things don't go so well.
That evening the two girls and Marya attend the opera where Natasha meets Anatole, a womanizer who confuses her with his attention.
Later that evening Anatole, his sister Helene (Emily Lambert), who is married to the wealthy Pierre for financial gain, and their friend Fedya Dolokhov (Quinn McGillion) go out drinking. The night ends with Fedya and Pierre dueling, and Anatole asking Helene to play matchmaker with Natasha.
In general things get messy. Anatole pursues Natasha, though he's married. The two plan to elope and things get even messier. Marya's calls on friend Pierre (Jamie Bradley) (remember, he's Anatole's brother-in-law, who also happens to be fiancé Andrey's best friend) to stop the madness, and there's still more. Suffice it to say, there's anger, sadness, and hope.
There are lots of characters in play during the two-and-a-half-hour production, yet they are surprisingly well sketched, and all the more complete thanks to the impressive performances - which brings us to the dynamic, consummate cast, which boasts a striking collection of performances and voices.
Bradley's Pierre opens and closes the show. Throughout it he perfects by turns weak and strong, broken and hopeful. It's an authentic, assured, weighty performance that ties and grounds the piece.
Mings' Natasha is like gossamer, light, and fragile and oh so young, and then there's her beautiful vocals.
Alexandra Mullaney's Sonya is perfectly delivered, as is every song by this powerful voice.
Lambert's Helene is spectacular - sexy, spicy, self-assured, a character completely without redemption; and here again, a knock out voice.
Jason Faria's Anatole perfectly conveys the character's charm and ruthlessness, and as Rep audiences have come to expect from him, the role is impeccably sung.
McGillion is captivating as Fedya, Helene's lover. He demonstrates a real gift for the rouge, and his voice is equally attractive.
Dumas's Maria is the only one played in a broad comedic manner. She is truly fascinating, and impressive as usual, but the question remains, why the directors chose this style for a single portrayal. Regardless of the reason, Dumas fully lands the interesting take, and nails the vocals - pretty much a given for this actress.
And so it continues with Michelle Faria as Mary, Hart as the old Prince and Sean Mullaney as Andrey - each offering a spot-on performance, and impressive voices.
This level of talent is threaded throughout the entire ensemble, each adding to the production's impact and spectacular single voice.
