Great Comet Review: A Modern Spin on a Timeless Classic that Shines Bright Even in a Darker Tone

Dave Malloy’s Critically Acclaimed Musical adapted from a section of Tolstoy’s War & Peace Finally Arrives in London.

★★★★☆

It’s been seven and a half years since I last saw this musical on stage (literally the day before it closed on Broadway back in 2017). That said, this musical, currently playing at London’s Donmar Warehouse, is every bit as bold, electrifying, and ambitious as one might expect. Under the direction of Tim Sheader (Donmar’s new artistic director), this reimagined production trades the opulent Russian supper club of Broadway (originally directed by Rachel Chavkin) for an edgy, 1980s Moscow setting. The bare set, complete with towering letters spelling “MOSCOW” across the back wall, immediately establishes that this is not your standard period piece. It’s a striking visual contrast to the 19th-century Russian tale it tells, yet somehow, it works—well, for the most part. 

Dave Malloy’s score, unquestionably one of the finest of the late 2010s, remains a triumph. The seamless blend of genres, from traditional Russian folk to pop, rock, and electronic, continues to captivate. Songs like “Prologue,” “Dust and Ashes,” and “Charming” still resonate as vividly as ever. This reminds us why this musical was such a groundbreaking force. However, some lyrical changes in Act II jarred against the otherwise brilliance. The alteration of the iconic line “Goodbye my Gypsy Lovers” to “Goodbye by Moonlight Lovers” in “The Abduction” stood out as a notable deviation, especially for those of us who have cherished the original cast recording for years. Additionally, the removal of Pierre’s poignant toast—“Here’s to Happiness, Freedom, and Life”—felt like a missed opportunity to underline his emotional arc. These adjustments, while perhaps intended to darken the tone a bit, slightly disrupted the balance between Natasha and Pierre’s narratives. 

Speaking of Balance, one noticeable shift in this production is the increased focus on Natasha over Pierre. While this choice deepens her story, it comes at the expense of Pierre’s quieter moments of introspection, which were so integral to understanding the heart of the piece on Broadway. This is not to say that the production suffers narratively—it’s still compelling—but the shift does subtly change the emotional resonance. 

What truly elevates this production, though, is its phenomenal cast. Chumisa Dornford-May is nothing short of radiant as Natasha, capturing the character’s youthful vulnerability and impulsive passion with precision. Her voice soars effortlessly through Malloy’s intricate melodies, anchoring the show with a mesmerizing presence. Declan Bennett’s Pierre is wise and wearied, and while I feel he’s given less prominence here, his performance remains a deeply affecting portrayal of quiet despair and eventual self-discovery.

Jamie Muscato’s Anatole is a charismatic revelation—dangerously charming, seductive, and with a voice that electrifies the room. In the intimate setting of the Donmar, his direct engagement with the audience only amplifies his allure. Maimuna Memon, as Sonya, delivers a performance that is equal parts tender and heart-wrenching; her role feels more fleshed out in this version, and her devotion to Natasha is palpable and deeply moving. However, it’s Cat Simmons as Hélène who truly steals the show. Her commanding stage presence and powerhouse vocals make every moment she’s on stage unforgettable.

Visually, the 1980s aesthetic is bold and evocative, though it may not be to everyone’s taste. The gritty nightclub atmosphere lends an interesting juxtaposition to the sweeping romance and tragedy of the story. While the staging choices occasionally feel at odds with the narrative’s historical roots, they succeed in creating a distinct identity for this production, ensuring it stands apart from its Broadway predecessor.

Ultimately, this production is a fascinating reinterpretation of a modern classic. It’s darker, grittier, and more intimate, yet it retains the dazzling heart of Malloy’s original vision. For newcomers, it’s a fresh and exhilarating introduction to this innovative musical. For longtime fans, it offers a chance to see a beloved work through a new lens—though it may take some adjustment to fully embrace the changes.

If you’re looking to revisit the comet’s brilliance or experience it for the first time, this production is absolutely worth your time. Just don’t go expecting a carbon copy of Broadway—it’s a star all its own.

Natasha, Pierre, and The Great Comet of 1812 - Donmar Warehouse

Attended on 23 December 2024