Lush and discordant, Muhlenberg’s production of “Natasha, Pierre & The Great Comet of 1812” gives audiences a peak into the glamour and depravity of 19th century Russian high society.
The complex musical, based on a 70-page section of Leo Tolstoy’s 1000-page novel “War and Peace,” runs though Nov. 3 in Muhlenberg College’s Empie Theatre.
The musical is sung-through and feels operatic at times (complete with operatic recitation); and the characters’ lyrics sometimes act as stage direction, giving the show a certain detachment.
Samuel Roter is memorable as Pierre and fills the wealthy older man with a palpable self-loathing who spends much of the play slumped at his desk, before coming to life at the end. Roter has a soaring baritone that is especially showcased in the anguished “Dust and Ashes” and the poignant “The Great Comet of 1812.”
Maddie Cilientro is appealingly sweet and innocent as the betrothed Natasha who is initially naive and giddy, then bewildered as she is overcome with unfamiliar feelings when she is seduced by Luke McIntyre’s smooth Anatole. Their meeting at the opera is one of the best scenes, as the wide-eyed Natasha is caught up in the music of the opera and then mesmerized by Anatole’s attention. Their harmonies in “Natasha and Anatole” are delightful.
As Anatole, McIntyre is passionate but selfish and breezily entitled. He gets to show off his falsetto several times through the show.
Anne Marie Alsobrook is humorously brusque but kind as Natasha’s godmother Marya and she highlights the dramatic “In My House” and “A Call to Pierre.”
As Natasha’s friend Sonya, Josephine Glass is resolute and honorable. Pierre’s cheating wife Helene is deliciously arch and cruelly manipulative as played by Elizabeth Vichness, and her scheming is on display in the coy “Charming.” Dami Shote is callously cocky as Helene’s lover Dolokhov which results in a duel with Pierre in the enjoyably electronica-flavored “The Duel.”
Another highlight is the exciting “Balaga,” in which a carriage driver played by Caden Dowgin, helps Anatole. The scene is filled with energetic Russian dancing by the cast, choreographed by Samuel Antonio Reyes. Tyler Motlasz is double cast as Natasha’s absent fiance Andrey and Andrey’s overly petulant father, while Ella Miller is sympathetic as Andrey’s abused and lonely sister Mary.
The musical has self-referential moments such as the show’s fun opening “Prologue.” The 10-piece orchestra led by music director Vincent Trovato does a great job with the challenging music which ranges from Klezmer to ambient and includes less frequently heard instruments such as accordion and glockenspiel. The ensemble which acts as a choir for many of the songs, ably handles the sometimes discordant harmonies. Director James Peck deftly holds together all the elements of the complex show.
Scenic designer You-Shin Chen’s stage design is eye catching and elegant with chandeliers and a circular center platform on the stage. Rebecca Lustig’s costumes are sumptuous and Haley Brown’s lighting creates a magical moment at the end of the show.
There is a content advisory that the show includes references to mental illness and attempted suicide, depictions of excessive alcohol consumption, predatory masculinity, gun violence, and use of ethnic slurs in reference to Romani people.
Performances are 2 and 8 p.m. Nov. 2 and 2 p.m. Nov. 3 in Empie Theatre, Trexler Pavilion for Theatre and Dance, 2400 Chew St., Allentown.
Tickets are $20 for adults and $8 for students.
For information call 484-664-3333 or go to muhlenberg.edu/seeashow.
