Writers’ stellar ‘Natasha, Pierre & the Comet of 1812’ is must-see theater

“Natasha, Pierre & the Great Comet of 1812” — 4 stars

Theatergoers may not leave Writers Theatre’s magnificent regional premiere of “Natasha, Pierre & the Great Comet of 1812” humming composer/lyricist Dave Malloy’s songs.

But that doesn’t mean they won’t depart entranced by Malloy’s witty lyrics and his intriguing combination of alt rock, electronica, hip-hop, Slavic and classical music that make up the genre-defying score of this intoxicating chamber opera.

Its magical moments include a deliciously dissonant duet marking the uneasy meeting between the titular Natasha (Aurora Penepacker) and Mary (Julia Wheeler Lennon), the sister of Natasha’s betrothed. There are others: “Dust and Ashes,” a soaring expression of existential angst performed with soul-baring intensity by Evan Tyrone Martin as the titular Pierre; the groove-infused epistolary number “Letters” that opens the second act; and what is perhaps the loveliest number, “Sonya Alone,” a testament to unwavering loyalty beautifully sung by Maya Rowe.

Director/choreographer Katie Spelman and music director Matt Deitchman — the dynamic duo who helmed Writers’ exquisite 2023 production of “Once” — reunite for this jewel of a show wherein the insistent, incessant music reflects the titular characters’ restless search for meaning and romance (i.e. sex). The pursuit of the latter singularly occupies several other characters in “The Great Comet,” a sung-through musical inspired by 70 pages from Leo Tolstoy’s literary colossus “War and Peace.”

Set in 1812 Moscow among society’s upper-crust, it tells the familiar tale of provincial Natasha seduced by a big-city scoundrel. It is, in part, a coming-of-age/sexual-awakening story about a young woman who is infatuated, seduced and scorned and the hard-won wisdom she achieves as a result. It’s also a coming-of-middle-age-tale about the unhappily married, oft-inebriated Pierre, who mourns his somnambulant existence and the divinity he squandered in his youth.

“If I die tonight, I die in my sleep,” sings the despairing Pierre (Martin, in a majestically self-aware, superbly sung performance), determined to awake before it’s too late.

We meet naive Natasha (the winsome Penepacker, graced with a bell-like soprano) as she and her devoted friend Sonya (Rowe) arrive at the Moscow home of her grande dame godmother Marya D (Bethany Thomas). There they will remain until Natasha’s betrothed, Andrey (Matthew C. Yee), returns from the Napoleonic Wars.

Marya escorts her young charges to the opera, where Natasha catches the eye of the womanizing Anatole (a nicely rakish, callously charismatic Joseph Anthony Byrd). Anatole enlists Helene (Bria Sudia) — his promiscuous sister and Pierre’s unfaithful wife — and his best friend Dolokhov (Andrew Mueller) in his scheme to seduce Natasha, who naively believes a man’s kiss equals a declaration of love.

Orbiting around the star-crossed characters is Lennon’s lonely Mary (whose duet with Penepacker is heavenly). Mary is burdened with caring for her and Andrey’s increasingly addled, increasingly ornery father Prince Bolkonsky (Rob Lindley). Last, but not least, is Jonah D. Winston’s boisterous chariot driver Balaga, whose mad dashes through Moscow’s streets provide comic relief.

The combination of Spelman’s delicate, deliberate direction that places actors among audience members, Deitchman’s vocally imposing ensemble and equally impressive instrumentalists, and gorgeous visuals makes for a stellar evening of theater.

Green and gold (the colors of money) dominate Courtney O’Neill’s luxuriant two-story set, whose grand staircase, lush drapes, inlaid floor and filigree accents suggest a 19th-century Russian estate. Sound designer Eric Backus and electronic music designer Ethan Deppe add drama, as does designer Yael Lubetzky, whose lighting is especially vivid.

Raquel Adorno’s costumes artfully reflect the characters. There’s Natasha’s virginal white and Helene’s blazing scarlet; Sonya’s true-blue frocks; the golden gown that reflects Marya D’s status; the green and black that conveys Mary’s emotional state; and Pierre’s burgundy coat, whose color seemingly refers to his favorite libation.

On the back of Pierre’s coat is an enormous heart, strikingly embellished. Evidence of Pierre’s compassion and generosity, it also suggests his vulnerability and the danger he faces by his inability to perceive his enemies’ approach.

Yet it is with that same open heart that Pierre — in the musical’s waning moments following an emotional exchange with Natasha — observes the 1812 comet streaking across the sky. In that moment of illumination, he recognizes it not as the threat many believed it to be, but the wake-up call for the rest of his life.

It is a profound conclusion to a show that deserves to be seen and will not soon be forgotten.

• • •

Location: Writers Theatre, 325 Tudor Court, Glencoe, (847) 242-6000, writerstheatre.org

Showtimes: 7:30 p.m. Wednesday through Friday; 3 and 7:30 p.m. Saturday; 2 and 6 p.m. Sunday through Oct. 27. Also, 3 p.m. Oct. 2. No 6 p.m. show Sept. 22 and Oct. 6

Tickets: Start at $45

Running time: About 2 hours, 20 minutes, with intermission

Parking: On the street

Rating: For teens and older; mild adult content, humor