Tickets must be purchased by 9/30/17. Offer available for select seats and performances. Blackout dates include 9/2 & 9/3. Offer subject to availability and prior sale; not valid on prior purchases; cannot be combined with any other discounts or promotions. All prices include a $2.00 facility fee. All sales final; no refunds or exchanges. Phone and Internet orders are subject to standard service fees. This offer may be revoked or modified at any time without notice. Cast and performance schedule are subject to change. For a complete schedule, call or visit Telecharge.com. Dave Malloy makes his Broadway debut in NATASHA, PIERRE AND THE GREAT COMET OF 1812. Inspired by a 70-page slice of War and Peace, this acclaimed new musical brings us just inches from Tolstoy’s brash young lovers as they light up Moscow in an epic tale of romance and passion.
"Who would have guessed that Dave Malloy’s gorgeous pop opera would land on Broadway with all its signal virtues intact, and in some ways heightened?...The show remains a witty, inventive enchantment from rousing start to mournful finish...O.K., so it’s a little dense...Even if you get lost for a bit, the dazzling staging, the vivid performances and the richness of Mr. Malloy’s music will provide pleasures that go well beyond the narrative." Full Review
"The most exciting theatrical experience since 'Hamilton,' a must-see for anyone who wants a sneak peek at how Broadway will look in the coming decades...Malloy's sharp lyrics and tunefully experimental music make the occasional haziness of the book easy to forgive...'The Great Comet' is a model for how to present 21st-century theater in venues designed 100 years ago....Everyone in this cast is working hard and it pays off." Full Review
"A luscious, 360-degree immersive experience that feels like being smothered in velvet...You really don’t want to miss a thing in this musically lush and visually opulent production...Malloy, who wrote the marvelous book, tuneful music, and smart lyrics, understands and even admires the members of this aristocratic society, who in ensemble songs reveal themselves as irresistibly charming and hopelessly corrupt." Full Review
"Director Rachel Chavkin's brilliantly joyous and sneakily subversive mounting of ‘The Great Comet,’ an infectiously lively musical…Josh Groban supplies the attention-grabbing star name and does a fine job anchoring the festivities with gravitas…Denée Benton's Natasha revels in the spotlight much of the time and she reflects it luminously with a lovely voice and a glowing presence...Let this dazzling show fill your spirits all night long." Full Review
"Director Rachel Chavkin’s approach to the show—spectacular yet intimate, theatrical yet personal—is an ideal complement to Malloy’s brilliantly unconventional musical...In Malloy’s complex and eclectic score, lovely stand-alone songs are woven into a larger blanket of recitative and surprising combinations of content and genre...Bittersweet and joyous, artful and accessible, this is a Broadway party like no other...It’s a wonderful, soul-stirring escape." Full Review
"If 'Natasha' used this gorgeousness to set up a contrast with the characters’ turpitude, or to bring its world crashing down at the end, it might seem less vapid...Groban sings not just beautifully but without irony; almost alone among the cast he makes real connections to the ideas behind the words...The misalignment of source and style is so severe in 'Natasha' that it seems like an example of elitist decadence rather than the condemnation of it that Tolstoy intended." Full Review
"Pure theatrical magic…Country aristocrat Natasha is played with sparkle and pluck by Denée Benton…Josh Groban makes a forceful and passionate Broadway debut as the dissolute Pierre...Rachel Chavkin’s breathless, immersive staging is a constant source of wonder...One of the most thrilling Broadway musicals this decade, 'The Great Comet' is intimate yet epic, ironic yet deeply felt, cosmic yet down to earth. It lights up the sky and our hearts." Full Review
"When the dancers are leaping, the accordions wheezing, the lights flashing, the skirts swirling, and the vodka flowing, then 'Natasha, Pierre and the Great Comet of 1812' feels thrillingly unlike anything else on Broadway...The combinatory musical style is perhaps too eclectic, yet also undeniably invigorating – like a shot of horseradish vodka. Besides, these are rather minor quibbles when compared with the beauty of many of the songs and the excitement of the immersive staging." Full Review
"Set designer Lien has done her best to recreate the atmosphere of a Russian dinner club, but the experience is much less intimate...The musical’s delicate closing moments brought me to tears Off-Broadway, but here I just admired the stagecraft...Groban exhibits a magnificent voice, but lacks the depth to fully inhabit the role. Benton’s Natasha is charming and bubbly yet when her liaison with Anatole is shattered, she fails to move us." Full Review
"Never, ever dull...As engaging as all the color, movement, and vocal pyrotechnics can be, there is something uncertain about the piece…'The Great Comet’ is sometimes moving, sometimes electrifying, and sometimes just a bit vulgar and overreaching in its gritted-teeth determination to give the audience a good time…As it is, it's prone to rather giddy mood shifts that sometimes undermine the story it is trying to tell. Make no mistake, however -- this is a wild, rollicking circus of a show." Full Review
"Extraordinary, the freshest, most inviting show on Broadway this season. 'Great Comet' is awesome in its stagecraft, in its music, and in its performances...Director Rachel Chavkin and set designer Mimi Lien in particular deserve kudos for staging on Broadway something very close to the kind of immersive theater that’s lately been intriguing theatergoers all over the world – everywhere but Broadway, until now." Full Review
"The talent here is mighty. Across the board. The story, however, could have been condensed into a tight 90-minute extravaganza. As it is, the themes are repeated over and over and over–and not in nuanced ways. Repetition overcomes talent as well as spectacle and wears the listener down...To be sure this is a visual spectacle that you rarely see on Broadway. Without the spectacle, however, the story does not stand up." Full Review
"Groban is delivering an unassuming, restrained and nuanced performance as an overweight older man burdened by his unhappy life...He soars, but he doesn’t show off...This is an ensemble and he fits in very nicely indeed...The show is mostly a spectacle but it has one especially affecting moment at the climax in which Groban’s Pierre and the socially disgraced Natasha have a meeting of the souls. It’s quiet, lovely, emotional." Full Review
"It arrives on Broadway in superlative shape, its humor, emotional content and rip-roaring storytelling every bit as vibrant as its madly infectious score...No disrespect to the marvelous cast, many of whom have been with the project since its earliest stages, but the true stars are the material and production, which is often as cinematic as it is blazingly theatrical...Chavkin's direction is a marvel of intricacy, with simultaneous action happening in multiple spots...Don't miss it." Full Review
"For all its explosive liveliness, Ms. Chavkin’s staging looks like a hopped-up concert version of a musical, not a bona fide Broadway show, and it serves mainly to paper over the essentially undramatic nature of 'The Great Comet,' which feels less like an opera than a cantata...There’s more than one way to write a show, and I freely acknowledge the extreme cleverness and originality of 'The Great Comet.' I just wish it didn’t seem at least 45 minutes longer than it really is." Full Review
"Since it premiered, I have always found the show to be extremely uneven, with a stop-and-start momentum that alternates between all-out liveliness and long episodes of slow tedium. That being said, Rachel Chavkin’s stunning production is an intoxicating whirlwind of wild activity...Benton, a little-known actress, is wonderful as the doe-eyed Natasha, and Groban, with his rich voice in tow, gives a sensitive performance that fully captures Pierre’s angst-filled personality." Full Review
"More often than not it succeeds at making a great time, even if it falls short of making great art...Though I remain an admirer of 'Natasha, Pierre & The Great Comet of 1812,' I find that its flaws are even more evident now, and Chavkin and Malloy are not able to disguise how hard they're working...Malloy walks a thin line between serious adaptation and rib-poking irony, and does not always get the ratios correct...Ultimately more a triumph of style than it is a classic piece of writing." Full Review
"A wildly inventive new musical...'Great Comet' functions as a satire of the trope of turning Russian fiction into musicals...The weakness of Chavkin's fabulously staged production is pretty simple and obvious. Little attention is paid to the emotional inner lives of the characters...It is like you're watching a cutting, a really cool post-modern cabaret lived in real time." Full Review
"The visually stunning ‘The Great Comet’ has improved in many ways from its other three incarnations…Rachel Chavkin’s direction is another work of art. Ms. Chavkin moves her players around with such grace and intimacy, the audience is sure to be astounded in its opulence…Mr. Groban’s acting is splendid...What is lacking from this production is the force of energy that was Natasha...Denée Benton is beautiful, sings well, and can act. What she lacks is star power " Full Review
"I can pretty much guarantee that no one attending this gorgeous evocation of 19th-century Moscow will leave convinced they didn’t get their ruble’s worth...The book and score by Dave Malloy take great pains to spell it all out for us, often to the exclusion of, oh character development, motivation and feeling...Malloy is an inventive composer of not very beautiful music...All this action delivers pleasure for the eye and, intermittently, the ear. But not for the soul." Full Review
"That immersive world has been realized ingeniously on Broadway...The large talented cast delivers the goods in director Rachel Chavkin’s lively staging and there’s much to admire in Molloy’s wistful arias and rowdy beats. The production sometimes stalls and loses impact amid the sprawl and spectacle...Still, the show is bold and affecting and a welcome addition to the Great White Way." Full Review
"I wish as much energy was given to creating an emotional arc in the story rather than explanations in a program...The cast of professionals seem to be game...Sadly, this fine group of actors is not given songwriting that approaches their expertise. I will say that it is a sumptuous show. Lively and entertaining. Moments of fun and pleasure delivered by an expert cast, but the combination of the simplistic lyrics and the manic movements created a show that is watched rather than engaged with." Full Review
"Malloy's sung-through lyrics are clear as any play dialogue and propel the narrative most effectively. And Chavkin has guided the performers to make their situations and feelings easily comprehensible...Electro-pop-influenced and sung-through like an opera, but it also, and beautifully, blends in Russian folk and classical music...They've managed to give audiences a view of Tolstoy's rather overwrought romantic subplot through a contemporary and often humorous and unique lens." Full Review
"A masterful musical… A remarkable story of love gone wrong…’The Great Comet’ is one of the most innovative musicals to appear on Broadway for a very long time. Its uniqueness is surpassed only by its impressive cast. Under Rachel Chavkin’s refined and imaginative direction, Denee Benton, Josh Groban and the ensemble cast grapple successfully with Dave Malloy’s music, lyrics, and book and create a delicious and innovative approach to a small slice of ‘War and Peace.’" Full Review
“Lest you feared that in the move to the Great White Way David Malloy's magnificent electro pop opera, now starring Josh Groban and Denée Benton in their Broadway debuts, this innovative musical work would lose its ambiance, be reassured. Resourceful and gifted set designer Mimi Lien has recreated her Russian supper club in the Imperial Theatre, an ironically named choice of venue, and director Rachel Chavkin's staging has lost none of its effectiveness.” Full Review
See it if Uniquely designed stage with constant ebb and flow of musical numbers and dancing. Powerful finale yet confusing
Don't see it if Defiantly tangent and mind-boggling to keep track of dancers. Heavy accent kept me from engaging and disappointing voice from male lead
See it if you're a fan of ingenuity, exciting staging, remarkably original music and performances. A fully-realized production that is outside-the-box
Don't see it if you're not a fan of uniqueness.
See it if You like shows that are odd, you appreciate unusual staging, and great lighting. If you like going to a show and saying whoa, what was that?
Don't see it if you want to leave feeling like you know what just happened.
See it if You want a clever, immersive, untraditional take on a familiar old story. It pushes the boundaries of what a musical should be. Fun show!
Don't see it if you expect the orchestra to be in a pit and the actors on the stage. Both will be all over the place!
See it if You feel the need to be bored by pretentious schlock disguised as art that is only worthy of praise for the unique staging.
Don't see it if Your only interest was Josh Groban.
See it if You enjoy the unexpected and want 'new' theater. Also great retelling of a classic.
Don't see it if You want a linear plot, are probe to seizures, and like classic theater. Also not family friendly.
See it if you liked Moulin Rouge. I kept thinking this was a drunken Russian version. It was lots of fun - there's action everywhere.
Don't see it if you didn't like Les Miz - it's all sung musical. Some of the songs were hard to decipher - especially when the entire ensemble sings.
See it if you enjoy shows pushing boundaries in every possible. It's a high octane production with a classic core. Not for all but perfect for some.
Don't see it if traditional shows delight you because this won't. Comets are harbingers of change and this one upends everyone including the musical form.
See it if You enjoy immersive staging or just creative staging; you enjoy new and different musical scores; you support innovative theater.
Don't see it if Immersive theater annoys you; traditional musicals are your preference.
See it if you enjoy theatre as spectacle. There are lots of good roles & beautiful songs for women. The transformation of the theatre is dramatic.
Don't see it if you value plot or traditional theatre. Nearly every inch of the theatre was designed & changed to accommodate this show.
See it if Utterly spectacular: design, music, staging, performances. Nuanced humanist fable about love and decorum. Magical, soulful, wild.
Don't see it if can feel maximalist & digressive, though it's elegantly constructed.
See it if See the show if you are interested in creative theatre. It is staged like no other show on Broadway.
Don't see it if you do not like complex stories or do not like Rock Musicals.
See it if you want to see a truly singular musical. Staging, singing, and writing are absorbing and entertaining. Good idea to review the plot before.
Don't see it if you're not a fan of immersive theatre, nontraditional Broadway scores, dizzying strobe lights, or stories of scandals and seductions.
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