Natasha, Pierre & The Great Comet of 1812

Gender-bending Pop Opera Adaptation of Tolstoy’s War and Peace

A Theater Reflection by Julinda D Lewis

Presented by: Firehouse Theatre | A Firehouse Mainstage Production

At: Firehouse Theatre on the Carol Piersol Stage, 1609 W Broad St., RVA 23220

Performances: August 20 – September 7, 2025

Ticket Prices: $45

Info: (804) 355-2001 or firehousetheatre.org

It’s not fair that the new theater season started with the Firehouse production of Dave Malloy’s sung-through musical (aka pop opera) Natasha, Pierre & the Great Comet of 1812. This production has set the bar so high that all other productions will have a lot to live up to.

Where to start…This is the second time in recent memory I’ve walked into the Firehouse Theatre space and had my flabbers gasted by a stunning stage set. Craig Napoliello’s interpretation of Tolstoy’s war-torn 19^th century Moscow features a broken wall, a large asymmetrical frame that creates a sense of the audience looking in as voyeurs, and a general vintage patina that reinforces the weight of history and the passage of time.

Then there’s the opening number that starts at a level 10 and sets the tone and pace for the dynamic range of the rest of the evening. The opening also introduces us to each of the characters from this complicated Russian novel in which everyone has “nine names.” Well, nine names plus a nickname: Natasha is young, Anatole is hot, Hélène is a slut, and Andrey isn’t here, for starters.

One thing I don’t often talk about is choreography, which you might find curious given my obsession with the art of dance. One of the reasons for that is that the choreography for musicals – even good to excellent ones – too often underwhelms me. But not this time. Firehouse producing artistic director Nathaniel Shaw, assisted by Shauna Paddyfote, has created choreography that is dynamic and immersive. The cast doesn’t break out into a random dance to get our attention, take up time, or fill space. The choreography includes full-out dancing, such as an occasional Russian folk dance, and high-kicking show dancing by women wearing heels and full skirts (Shannon Schilstra and Emily Dandridge), as well as choreographed movement that unites the scenes and creates a sense of zeitgeist. And then there was the brilliant, energetic “Troika” dance that involved several cast members – some in the role of horses. Their costumes, a piano, and an accordion were all part of the choreography. One prop in particular, earned its one “bio” in the program. A doorframe created in the Firehouse shop that is used in several scenes has been given the grande title of Framecesca Doormitryevna.

The cast is powerful and multi-talented (singing, dancing, acting) – and some of them multi-task (playing instruments in the band). Each of the main characters gets a chance to shine with a solo (or aria if we’re being operatic), as part of a duet or trio. Kudos to Ally Dods, Drew Seigla, Shinji Elspeth Oh, Taylor Baltimore, Durron Marquis Tyre, Katrinah Carol Lewis, Madison Hatfield, Eddie Webster, Tessa DeGrace, Elle Meerovich, Shannon Schilstra, Chewie Lo Moore, Toby O’Brien, and Emily Dandridge. Ally Dods and Drew Seigla may have had the title roles of Natasha Rostova and Pierre Bezukhov, but siblings Anatole Kuragin and Helene Kuragina Bezukhova (Durron Marquis Tyre and Katrinah Carol Lewis), and Natasha’s loyal cousin Sonya (Shinji Elspeth Oh), and Anatole’s faithful friend Fedya Dolokhov (played by Madison Hatfield) were all shining stars and each and every one of them deserved a standing ovation. I didn’t mention every character, but that was not to short-change anyone – even those designated only as Ensemble were essential to the plot. A family tree diagram was included in the program to help keep the relationships straight.

Ah, the plot. Yes, there is one. But first, let me add here that somewhere near the end of Act One or shortly into Act Two, I recall thinking that it didn’t matter what the plot was – or even if there was one – because the performance was of such a high caliber that I didn’t care if there was a plot or if the plot made sense.

Many, like me, may not be familiar with this musical. Natasha, Pierre & The Great Comet of 1812 is a modern, immersive musical adaptation of a 70-page segment from Leo Tolstoy’s War and Peace – Volume 2, Part V. (The full book is 1,200-1,450 pages, or more than half a million words!) The plot revolves around the beautiful but naïve Natasha, a young woman in 19th-century Russia who falls in love with the charming Anatole while visiting her godmother in Moscow. However, Natasha is already engaged to Andrey, who is away fighting in the Napoleonic Wars (France invaded Russia in 1812), and Anatole is married to a woman he apparently left behind in Poland. Natasha finds herself torn between the two men and Pierre, a close friend of Andrey, attempts to help Natasha navigate her romantic struggles while grappling with his own existential crisis – which he does by reading and drinking, both to excess. Natasha, Pierre & The Great Comet of 1812  explores multiple themes, including love, betrayal, forgiveness, and the complexities of human relationships (e.g., the contentious relationship between Andrey’s sister Mary (Tessa DeGrace) and their father, the elderly and lecherous Prince Bolkonsky (Eddie Webster), for whom Mary is a loving but reluctant and frequently abused caretaker.

The program for Natasha, Pierre & The Great Comet of 1812  conveniently included a full page of History and Context in addition to the aforementioned family tree. Yes, there was an actual comet in 1811-1812. It lingered so long it became associated with all sorts of ominous things from earthquakes to the Napoleonic wars and earned a place in the writing of Sherlock Holmes, Victor Hugo (Les Misérables), and of course, Tolstoy. Comets were often seen as portents of impending disaster by the Russian aristocracy of the 19^th century. Coupled with the Napoleonic Wars, the invasion of Russia in 1812 and the burning of Moscow, it is no wonder that comets became symbolic of monumental change and existential crises.

Natasha, Pierre & The Great Comet of 1812  has love, romance, infidelity, drinking, dancing, revelry, drama, humor, war, politics, music…all the makings of a great musical. It did not disappoint. Far from it – it has earned a place as one of my favorite musicals of all time.

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Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself and occasionally performs. Julinda was recently awarded the Dean’s Distinguished Adjunct Faculty Award 2023-24 Academic Year by VCU School of the Arts and the 2025 Pioneer Award in Dance Ministry by Transformation International Worship Ministries, Newport News, VA.

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NATASHA, PIERRE & THE GREAT COMET OF 1812

Written by Dave Malloy

Directed by Chelsea Burke

CAST

Natasha                         …..        Ally Dods

Pierre                               …..        Drew Seigla

Sonya                              …..        Shinji Elspeth Oh

Marya D. ….. Taylor Baltimore

Anatole                           …..        Durron Marquis Tyre

Hélène                            …..        Katrinah Carol Lewis

Dolokhov                        …..        Madison Hatfield

Bolkonsky/Andrey      …..        Eddie Webster [u/s for Pierre]

Mary/Opera Singer     …..        Tessa DeGrace

Balaga/Opera Singer …..        Elle Meerovich

Maidservant                 …..        Shannon Schilstra [u/s for Natasha]

Servant                           …..        Chewie Lo Moore [u/s for Dolokhov]

Ensemble                       …..        Toby O’Brien [u/s for Balaga & Bolkonsky]

Ensemble                       …..        Emily Dandridge

u/s for Sonya, Mary, Maidservant     …..        Korinne Brier

u/s for Anatole, Servant                       …..        Wayne Parker

u/s for Marya, Hélène                            …..        Rachel Sper

BAND

Cello                                …..        MJ Laskey

Violin                                …..        Marisa Resmini

Clarinet, Bass Clarinet           …..        Jale Wise

Piano, Accordion        …..        Elle Meerovich

Oboe, Piano                  …..        Emily Dandridge

Drums                             …..        Joe Lubman

Guitar                              …..        Toby O’Brien

PRODUCTION TEAM & CREW

Director                          …..        Chelsea Burke

Music Director             …..        Elle Meerovich

Choreographer/Asst Dir.        …..        Nathaniel Shaw

Assistant Choreographer      …..        Shauna Paddyfote

Dramaturg/Asst to the Dir     …..        Claire Wittman

Scenic Designer          …..        Craig Napoliello

Lighting Designer       …..        BJ Wilkinson

Costume Designer     …..        Ruth Hedberg

Sound Designer          …..        Grace Brown Labelle

Stage Manager             …..        Emily Vial

Asst Stage Manager   …..        Makaila Henderson

Asst Sound Designer/Scenic Charge            …..        Patrick Rooney

Dance Captain            …..        Shannon Schilstra

Shadow/Observer      …..        Merit Lavelle

Stage Crew                    …..        Marcely Villatoro

Tickets: $45. A 15% discount is available to active-duty military and veterans. $15 tickets available for college and high school students. Pay-What-You-Will performances will be offered for both preview performances, as well as all matinees (excluding closing, September 7th).

Ticket Info: (804) 355-2001 or firehousetheatre.org

Performance Schedule: August 20-September 7, 2025

Thursdays, Fridays, Saturdays @7:30PM

Saturdays & Sundays @2:00PM (Pay-What-You-Will, except for September 7)

Previews: August 20 and 21 (Pay-What-You-Will)

Opening Night: Friday, August 22

Closing: Sunday, September 7 @2:00PM

Run Time: about 2 hours 30 minutes with one 10-minute intermission