Alia Marshall
Just a heads up, this review contains a little bit of course language.
Pōneke is getting chilly as we usher in autumn, and I can feel the seasonal depression preparing a fold out chair to strike me with. Thankfully, Natasha, Pierre, and the Great Comet of 1812 staged by WITCH Musical Theatre is the passionate, hot and sweaty tonic I’ve been searching for to warm my cockles. Originally performed on Broadway in 2012, this musical is based on part eight of Leo Tolstoy’s broody and dramatic novel War and Peace, written in 1869 - a book I’m only familiar with because when I was a teenager I would try to read it in cafes to look mysterious and hot. Described as "both the most innovative and the best new musical to open on Broadway since Hamilton,” this show blends the modern and the classical in a variety of clever ways. The slick mix of indie rock, Russian folk, and electro-pop is so fun that I’m listening to the original recording as I write this very review.
Pōneke is getting chilly as we usher in autumn, and I can feel the seasonal depression preparing a fold out chair to strike me with. Thankfully, Natasha, Pierre, and the Great Comet of 1812 staged by WITCH Musical Theatre is the passionate, hot and sweaty tonic I’ve been searching for to warm my cockles. Originally performed on Broadway in 2012, this musical is based on part eight of Leo Tolstoy’s broody and dramatic novel War and Peace, written in 1869 - a book I’m only familiar with because when I was a teenager I would try to read it in cafes to look mysterious and hot. Described as "both the most innovative and the best new musical to open on Broadway since Hamilton,” this show blends the modern and the classical in a variety of clever ways. The slick mix of indie rock, Russian folk, and electro-pop is so fun that I’m listening to the original recording as I write this very review.
