DAVE STEAKLEY, Producing Artistic Director
JAMIE HERLICH, Managing Director

Written by DAVE MALLOY  
Directed by DAVE STEAKLEY
Musical Direction by ALLEN ROBERTSON
Choreographed by JOSH ASSOR

JANUARY 31-MARCH 3, 2024
THE TOPFER AT ZACH THEATRE

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.  
**Member of IATSE 829 

There will be one 20-minute intermission. Drinks and snacks are welcome in the theatre.

In Natasha, Pierre and the Great Comet of 1812, composer Dave Molloy has created one of the most exciting, new, sung-through musicals to come along in a very long time. I first experienced it ten years ago in a tent erected in Manhattan’s trendy meatpacking district, where a cozy and elegant Russian supper club had been created under a canopy of Sputnik chandeliers. Molloy’s exciting score pulsed with musical influences as diverse as Russian folk music, Prince, traditional musical theatre, Bruce Springsteen, the indie rock band Arcade Fire, and EDM (electronic dance music). The originality of his compositions was like nothing I had ever experienced, brought to thrilling life while actors, dancers, violin and accordion players and guitarists swirled around me. I knew that night that I wanted to produce this electropop opera inspired by a slice of Tolstoy’s War and Peace for you in an immersive ZACH360  experience that I hope captures the excitement I felt that night.

Natasha’s story takes front and center: she is a beautiful ingénue visiting Moscow while she waits for her beloved fiancé Andrey to return from the war. In a moment of indiscretion, she is seduced by a dashing rouge named Anatole and her position in society is put in peril. This musical takes affairs of the heart seriously, including friendship, and Natasha’s cousin Sonya sings a song of unwavering loyalty and devotion to her friend that had me weeping when I saw the show. Natasha’s only hope lies with Pierre, a lonely outsider whose love and compassion for Natasha may be the key to not only her redemption, but to the regeneration of his own soul. Pierre is a man on a spiritual quest, always studying and engaging in different intellectual journeys, trying to get at the eternal questions of his existence. The moment when Pierre chooses to let his heart lead, perhaps for the very first time in his life, he experiences an epiphany that is one of my favorite moments ever in the theatre. While “a war is going on out there somewhere”, the Great Comet arrives bringing reflection, renewal and the “blossom of a new life.” I can’t think of a better way to begin this new year with you, our dear audience, patrons and friends. 

Cheers!

Dave Steakley
Producing Artistic Director

Prologue
Moscow, 1812, just before Napoleon’s invasion of Russia and the burning of the city. As the story begins (“Prologue“) we meet (“Pierre”), a wealthy aristocrat having an existential crisis, living a slothful life of wine, philosophy, and inaction.

PART 1
Meanwhile, the young, newly engaged Natasha Rostova and her cousin Sonya arrive in (“Moscow”) to stay the winter with Marya D, Natasha's godmother, while Natasha waits for her fiance, Andrey, to return from the war. Marya D. tells Natasha that she must visit her future in-laws, the demented, miserly old Prince Bolkonsky and his spinster daughter, Mary (“The Private and Intimate Life of the House”), to win their affection and secure the marriage, which is critical to the Rostov’s status and fortune. However; Natasha‘s visit ends in disaster (“Natasha & Bolkonskys“), and she leaves missing Andrey more than ever (“No One Else“).

PART II
The next night, Natasha is introduced to decadent Moscow society at (“The Opera“); there she meets Anatole, a young officer and notorious rogue (“Natasha & Anatole“); their interaction leaves Natasha feeling confused.

PART III
Anatole, his friend Dolokhov, and Pierre go out drinking; they are met by Helene, (Pierre's wife and Anatole’s sister), who taunts Pierre. Anatole declares his intention to have Natasha, although he is already married. Pierre finds his wife's familiarity with Dolokhov offensive and challenges him to a duel, almost getting himself killed (“The Duel“). Afterward, Pierre reflects on his life (“Dust and Ashes“). Natasha and her family go to church (“Sunday Morning“); later, Helene arrives and invites Natasha to the ball that night (“Charming“), where Anatole seduces Natasha (“The Ball”).

INTERMISSION

PART IV
Natasha and Anatole make plans to elope, and Natasha breaks off her engagement with Andrey (“Letters“). Sonya finds out about the plan and realizes it will mean Natasha’s ruin (“Sonya & Natasha“); she determines to stop her at any cost (“Sonya Alone“). That evening, Anatole and Dolokhov plan for the elopement (“Preparations“) and call on their trusted troika driver, (“Balaga,“) to take them to Natasha's house. However, (“The Abduction“) is thwarted at the last moment by Marya D.

PART V
After scolding a grief-stricken Natasha (“In My House“), Marya D. sends out (“A Call to Pierre”) asking him to help handle the crisis. Pierre kicks Anatole out of Moscow (“Find Anatole“ / “Pierre & Anatole“); Natasha poisons herself (“Natasha Very Ill“); Andrey returns. Pierre explains the scandal to him and asks him to be compassionate, but Andrey is unable to forgive (“Pierre & Andrey“). Finally, Pierre visits Natasha (“Pierre & Natasha”). After their meeting, Pierre experiences a moment of enlightenment while seeing (“The Great Comet of 1812“) in the night sky.

Understudies: MAGGIE ANDERSON* as Hélène Bezukhova ; MARIEL ARDILA as Natasha Rostova, Sonya Rostova, Mary Bolkonsky ; LOGAN FOSTER* as Pierre Bezukhov, Anatole Kuragin, Fedya Dolokhov, Andrey Bolkonsky/Old Prince Bolkonsky/Balaga ; ALLAN LOPEZ as Anatole Kuragin, Andrey Bolkonsky/Old Prince Bolkonsky/Balaga, Ensemble ; SHARON ROBINSON as Sonya Rostova, Hélène Bezukhova, Marya Dmitriyevna, Mary Bolkonsky, Ensemble ; DAISY WRIGHT* as Marya Dmitriyevna.

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States. 

SCENIC

PROPERTIES

COSTUMES

LIGHTING & VIDEO

AUDIO

STAGE OPERATIONS

ADMINISTRATIVE

L-R: The Drowsy Chaperone; Beauty and the Beast; Mary Poppins.  Photos: KirkTuck.com

We are heartbroken over the loss of one of our dearest, Matthew Redden. Matt was not just a talented actor, but a genuine soul who deeply touched the lives of all who had the privilege of knowing him. From his unforgettable performances in shows like Xanadu, The Drowsy Chaperone, and Beauty and the Beast to the heartwarming moments he created in Mary Poppins and White Christmas, Matthew's artistry on stage was nothing short of magical.

Beyond the spotlight, he was a cherished friend, an unwavering inspiration, and a radiant presence in our lives. His dedication, passion, and the boundless warmth of his spirit enriched us all.

Today, we celebrate the extraordinary person he was. Our hearts unite in support of his family and loved ones during this difficult time. Matthew's memory will forever be an enduring source of strength, love, and inspiration. Rest in peace, dear friend.

When you send it flyin' up there All at once you're lighter than air You can dance on the breeze Over 'ouses and trees With your first 'olding tight To the string of your kite! Bert, Mary Poppins

Thank you to these donors in tribute to Matthew Redden
Elisbeth Challener and Brett Bachman  |  Julie Mazur |  Bridget Mullins
Louis and Michele Nigg  |  Caren Perlmutter  |  Corbett Redden
Kelsey Taylor