Being a fan of classical literature — even if I rarely have time for it now — “War & Peace” has been on my bucket list for years. You can only imagine my excitement when — at the end of their rendition of “Chicago” last year — Vanderbilt Off-Broadway announced their plans to perform a musical — written by composer Dave Malloy and presented in arrangement with Concord Theatricals — based off the Leo Tolstoy novel! I was curious to see how exactly a play could combine Russian folk with Electro-pop, purposefully refraining from listening to any music before watching Vanderbilt Off-Broadway’s dress rehearsal. If you would like to avoid any spoilers — or would like to just hear my verdict — I’d strongly suggest booking tickets to see the show, especially considering there is free entry for Vanderbilt students. The writing behind this play is already critically acclaimed, plus Vanderbilt Off-Broadway does not disappoint in their rendition. Now with all being said, let the curtains roll!
Act One: The (not so much) cold open
We enter in the heart of Moscow, 1812. We are given a quite humorous prologue, explaining that the show is based on a “complicated Russian novel.” It was quite a great scene of exposition — by far beating the traditional “here is the program, try to squint in the dark while we start!”
We are then introduced to the drunkard aristocratic scholar Pierre and the youthful beauty Natasha, played by seniors Alex Tomack and Kate Mason, respectively. Straight off the bat, props to the costume design team. Genuinely, these outfits felt more like nobility — within their reasonable budget constraints — than a back-of-the-closet afterthought. I did wish that the costumes included more of the razzle-dazzle gemstones we are used to from “Chicago,” but that — likely — was not possible due to the script’s copyright. If it is possible, it would be an excellent addition, considering the strong lighting of Langford Auditorium. Another major kudos — especially for junior Jackson Smith’s performance as Old Prince Bolkonsky — goes to the cast’s impressions. It takes dedication to memorize lines; it takes an entirely different level of commitment to shuffle hunchbacks around the stage with the voice of a cranky geezer.
If I could highlight a segment from Act One, it would be “The Duel,” specifically the party scene. Besides the prologue, this was one of the first times synchronized chaos occurred on stage. From the cast careening across the stage to a full set light show for the party, this was one of my most memorable parts of the act — especially with its climactic, impromptu flintlock duel reminiscent of Hamiliton’s “Ten Duel Commandments.”
Act Two: Pierre comes to help
Act Two is chock full of stellar performances by the cast. From entire plot lines being developed in nonstop song, to “Bagala” — an Eastern European carriage driver, played by first-year Jay Lough — leading a full-on dance number, this act ran where Act One left off and flew away. I can not stress enough the amount of sheer energy this production had behind it, with elaborate dance numbers one after another. I especially loved “Pierre and Anatole,” performed by Tomack and Matthew Marcus, for its riveting dialogue and clever incorporation of props — such as Pierre threatening to hit Anatole with an inkwell from his desk — all supported by a punchy drumline. This then leads to my thoughts on the musicians’ pit. Conducted by junior Spencer Bowden, it only ran with occasional pauses. For the approximately two-hour run time. I truly could not give enough credit to the pit. Even if you don’t care for the plot, I’d recommend going purely to hear the soundtrack performed live. The bassy-oompfy rhythm had me tapping my foot continuously throughout.
While Vanderbilt Off-Broadway incorporated in-audience choirs throughout the production, their performance in “The Great Comet of 1812” was especially superb, all coming together in a harmonized serenade. Words cannot do justice to the experience of live instruments and a surround-sound choir during this part; it’s something you must witness in person to truly appreciate.
Despite technical difficulties at the start of dress rehearsal, it is clear that this tight-knit cast was not only well-versed but also committed to their roles. They ensured accent marks were placed where necessary, went the extra mile with integrating the aisleways of Langford Auditorium and in the end, celebrated through love and grief, ending the tale under the Great Comet of 1812.
Tickets for the show are currently on sale at Langford Auditorium. Admission is free for Vanderbilt students and faculty, while community members can attend for $5.