And the award for the most ridiculous title of a musical ever: Natasha, Pierre & the Great Comet of 1812. The source material is Tolstoy’s War & Peace, and I actually thoroughly enjoy the name of the musical. But, oofta, it’s a mouthful 14 syllable title, however it is most definitely intriguing. Back in 2017 I wanted information, immediately, about this show solely based on this title.

By 2017, Dave Malloy, the composer/lyricist/writer of Natasha & Pierre, already had multiple off-Broadway musicals, including the original off-Broadway version of Natasha, on his resume. Malloy is a young composer who has decades ahead of him to create more, and I definitely look forward to what he has in store for us in post-covid Broadway.

Natasha has been described as an electropop opera by Malloy himself, but I feel that the acoustic and folk elements are not captured well enough in such a genre. It’s moot, but no matter what genre one prescribes, the score is unique and remarkably fresh. Malloy uses Russian folk music, classical, theatre, EDM, and pop to deliver a cast album that defies any traditional description.

Dissonance is prevalent in the score. At least, the dissonant moments are memorable to me, oftentimes in an uncomfortable way. Before listening to the entire score, by the middle of Act 1, I used to be put off by some musical moments, including the “Opera” scene. It wasn’t until more recently that I pushed through and gave the album a proper listen. I reached what is my personal favorite song Dust and Ashes, and I realized I should have listened to this album sooner. Malloy’s score is so interesting and well-constructed. Some emotional moments in the show have music that is so hair-raisingly perfect, and there is a really cool juxtaposition with the modern & classical elements.

The stage design, lighting, and choreography are top notch. The entire show is done in the round with dozens of audience members at tables that are directly on the stage. There is a bit of actor-musician approach to the orchestrations, as some characters play their own instruments accompaniment.

Natasha did not fare as well as projected at the 2017 Tony’s. Nominated for a whopping 12 awards, Natasha only picked up 2. It was beat out in most categories by Dear Evan Hansen and Come From Away, the latter of which was snubbed of Best Musical in my humble opinion.

Highlights include: the Prologue and Dust and Ashes. Worth pointing out the incredible Stage design if you watch the Prologue cut.