The Reviews for NATASHA, PIERRE & THE GREAT COMET OF 1812 are in…

natasha

Josh Groban as Pierre in the musical “Natasha, Pierre & The Great Comet of 1812.” Photo by Sara Krulwich/The New York Times

The reviews for Natasha, Pierre & the Great Comet of 1812 are in, and the critical responses come from all parts of the sky: some compare it favorably to Hamilton while others claim it has no heart and is too difficult to follow. Written by Dave Malloy and directed by Rachel Chavkin, the epic musical is based on parts of Tolstoy’s “War and Peace” but told with edgy elements like immersive staging and electronica music. The critics widely disagree about the musical’s merit, but undeniable to all is the excellence of its spectacular design and of its leading performances by Denée Benton (Natasha) and Josh Groban (Pierre). Both Broadway rookies, their performances defy expectations…especially Groban, who offers extraordinary emotional depth to go with his always sumptuous vocals. Now add your voice to the conversation – is it the next Broadway masterpiece or an experiment that’s yet to find itself?

NEW YORK TIMES REVIEW OF NATASHA, PIERRE & THE GREAT COMET OF 1812

The Imperial Theater, where the rapturous musical “Natasha, Pierre and the Great Comet of 1812” blazed opened on Monday night, has never looked more imperial — or felt more intimate. Who would have guessed that Dave Malloy’s gorgeous pop opera, adapted from a slice of Tolstoy’s “War and Peace,” would land on

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DEADLINE REVIEW OF NATASHA, PIERRE & THE GREAT COMET OF 1812

What a world MacArthur “genius” Mimi Lien has created at the Imperial Theatre for Natasha, Pierre & The Great Comet Of 1812. The auditorium is voluptuously draped in scarlet velvet, with gold and brass accents. Brilliant knockoffs of the crystal-and-gold chandeliers at the Metropolitan Opera House rise and… 

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AM NEW YORK REVIEW OF NATASHA, PIERRE & THE GREAT COMET OF 1812

“Natasha, Pierre & The Great Comet of 1812,” Dave Malloy’s immersive, festive and introspective electro-pop opera dramatizing a small portion of Tolstoy’s “War and Peace,” has undergone a most unusual journey over the past four years, moving from a small off-Broadway venue to a large tent to, finally

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ASSOCIATED PRESS REVIEW OF NATASHA, PIERRE & THE GREAT COMET OF 1812

You may not just passively consume “Natasha, Pierre & the Great Comet of 1812.” You must participate. As soon as you enter the Imperial Theatre on Broadway, you are urged to clear paths for the hectic performers, be prepared to catch boxes of pierogis — not enough for all, mind you — and learn some Russia… 

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TIME OUT NEW YORK REVIEW OF NATASHA, PIERRE & THE GREAT COMET OF 1812

Dave Malloy’s mercifully transporting musical Natasha, Pierre & the Great Comet of 1812 is both a celebration and a cause for it. Mimi Lien’s stunning set design transforms the stately Imperial Theatre into an ornate red-and-gold Russian nightclub, with stairs that wind up to the mezzanine, a sinuous… 

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