From Thursday through April 3, the Ruth Caplin Theatre will travel back in time to 19th century Russia for the debut of the University drama department’s production of “Natasha, Pierre & The Great Comet of 1812.” Decorative sets, dance interludes and passionate ballads make up the spirited narrative and energetic dance sequences of this immersive musical experience.
The production features undergraduate, graduate and alumni performers with a wide range of talents and experience, all of whom have dedicated themselves to months of intense rehearsals in preparation for opening night.
Inspired by a 70-page passage from Leo Tolstoy’s literary classic “War and Peace,” the story chases themes of romance, recklessness and redemption through the lives of two young adults — innocent Natasha and introspective Pierre — caught in the whirlwind of society. Anxiously awaiting her fiancé’s return from war, Natasha navigates the relationships and temptations of fast-moving Moscow society, leading to her and Pierre’s eventually intertwined paths to self-discovery.
The eccentric mix of music styles and lively choreography work to modernize the fast-paced fiction. The production’s music director, local professional Kristin Baltes, highlighted how the soundtrack separates this musical from more conventional Broadway styles, with unexpected sonic influences that complement the blend of pop, folk, techno and other genres characterizing the score.
“There’s these noises and experimental sounds that we do halfway through Act 1 that are bizarre and creative and not your regular musical,” Baltes said. “It’s electronic and loud. And it gets into your heart. You can feel it in your body, these sounds.”
Along with the signature iconography of the show, guest artist Diego Alejandro González serves as the production’s director and choreographer, bringing his extensive performance experience to the table. A New York City-based director and theatermaker, he spoke to his vision for the University’s interpretation in bringing this bold representation of the arts to life.
Embracing the maximalist and experimental style of the musical, González said he hopes the production creates a world that bends the rules of storytelling, performance and historical exposition.
“I wanted to create this metatheatrical theater of aristocracy,” González said. “I wanted to play into this feeling like it’s kind of a theater show within a theater show, and it’s also a fashion runway show — it’s the red carpet opening at the Met Gala, it’s the Metropolitan Opera or the American Ballet Theatre, but it’s set in Moscow.”
Despite its roots in war-torn Russia, the musical ties into concepts about identity that extend beyond the contemporary components of the score. At its core, the narrative deals with the struggles and uncertainty of growing up and the challenging transitions faced during young adulthood.
In her leading role as Natasha, second-year College student Anna Raimist revealed the relatability of her character, describing her persona’s transformative journey as an understandable experience for many young people navigating their way in the world, including her own time at the University.
“I feel like [Natasha] really transitions from this ingénue to almost more of a femme fatale, where she becomes the one making maybe not the best of decisions, in my opinion,” Raimist said. “But I think that really can apply to a lot of experiences here at U.Va., when we might be put in some difficult situations that put pressure on us, where we might not make the best of decisions and are forced to kind of deal with those repercussions.”
While the leads play a crucial role, Raimist noted the sense of community contribution that has gone into the process and the importance of every actor onstage.
“The ensemble is so intertwined in every single aspect of the show, and I feel like there are so many individual characters and little moments woven throughout the show where people really get to pop out and show their creativity and their artistic ability, “ Raimist said. “The show really features just so many sweet moments in that way.”
Lorenzo Bustamente, the actor portraying Pierre and fourth-year College student, echoed this sentiment of the passion behind every step of the process and highlighted the effort that goes into every minute of preparation for the show.
“To see just an abundance of talent around me throughout this process, it inspires me to work harder and work as hard as them to make not only the audience happy, but my cast proud of me,” Bustamente said.
While the intricacies of Natasha and Pierre’s journey will remain a mystery until opening night, the main message of “Natasha, Pierre & The Great Comet of 1812” points to a reflective yet hopeful close.
Despite ever-shifting relationships and emotional rollercoasters, the narrative also follows themes of friendship and understanding amidst the chaos. González emphasized that, in spite of the ups and downs faced by the characters, the story culminates with a message of human connection.
“It’s always going to be important to go back to our own light and to be kind to one another,” González said. “It’s not about a hero defeating a villain in this huge superhuman way. It’s not about gods and fantasy creatures. It’s just about, at the end of the day, the human power to be kind and to love.”
For Bustamente, the significance of this musical has manifested in a broader understanding of resilience and the power of community. He reflected that this uplifting essence has resonated from cast to crew during performance preparation, and rings true beyond the theatre itself.
“It’s about finding the courage to live through adversity,” Bustamente said. “Even in spite of adversity or struggle, there is always this light that can just spontaneously appear. And once it does come up, you’ve got to grasp it … It’s just a project that is filled with love. I think that’s what makes it special.”
In the coming weeks, this production has the energy to transport students, faculty and community attendees into the eclectic society of Moscow as the drama department journeys through the avant-garde progression of Natasha and Pierre’s narratives.
“I hope that Charlottesville feels proud of knowing that this is a local production that has been made by Charlottesville for Charlottesville,” González said. “And I also hope that people walk away feeling artistically inspired. There’s so much power in being able to tap into your own inner artist, into your own creative.”
Tickets are available to the public through the drama department’s website. Students can redeem a free Arts$ ticket also through the U.Va. Arts Box Office website. Reserve a seat and watch as the cast and crew bring a beloved piece of Broadway and historical fiction to the University.