Our Deep Dive of Great Comet comes to its conclusion. Actor/singer/diva/Great Comet superfan Natalie Walker remains to dig into the show’s electrifying soundscape, its roots in War and Peace, and how Dave Malloy explodes character, form, and musical vocabulary. Matt and Natalie break down what makes Comet such a singular theatrical experience—structurally, emotionally, and spiritually—and why its legacy continues to glow long after the comet’s tail faded from Broadway.

Guest introduction

Natalie Walker is an actor, singer, and comedic force known for her singular interpretations of musical theater material. She’s been nominated for a Drama Desk and Lucille Lortel Award and recently brought her sold out show Mad Scenes to Joe’s Pub. Her extensive history with Great Comet across multiple productions—including Kazino, A.R.T., and Broadway—brings insight as both a performer and longtime fan makes her the ideal partner for this deep-dive analysis.

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Timestamps

00:00 – Welcome & why Great Comet still mattersWhy Comet remains one of the most daring Broadway productions of the 2010s.

04:30 – Translating Kazino’s immersive chaos to a proscenium Matt and Natalie break down the production design on Broadway.

11:50 – “Charming” and the weaponization of flattery A textual and musical unpacking of Hélène’s manipulation and why “such a shame to bury pearls in the country” is one of song’s great lines.

34:20 – The Abduction: pacing, spectacle, and the Broadway-length debate Matt’s case for trimming the sequence and why certain Broadway changes improved storytelling.

42:30 – Pierre, Natasha & the power of perceived monstrosityPierre’s meeting with Natasha and how online behavior mirrors the novel’s themes.

59:00 – Pierre’s emotional repression & the final confessionA breakdown of Pierre’s “you should be with the brightest, handsomest, best person” scene and why people who seem emotionally constrained often feel the most.

1:24:45 – Social media, discourse & the collapse of the Broadway runHow the “Great Comet discourse” spiraled, why it fed into Malloy’s Octet, and what the show reveals about online culture and human empathy.

Key people mentioned

Creators

* Dave Malloy (composer, lyricist, book), Rachel Chavkin (director), Sam Pinkleton (choreography), Mimi Lien (set design), Paloma Young (costumes), Bradley King (lighting)

Original Broadway cast

* Josh Groban (Pierre), Denée Benton (Natasha), Lucas Steele (Anatole), Amber Gray (Hélène), Grace McLean (Marya D.), Brittain Ashford (Sonya), Nick Choksi (Doléhov)

Other notable performers mentioned

* Heath Saunders, Shaina Taub, Kuhu Verma (Octet)

Resources:

* Original Broadway Cast Recording – Natasha, Pierre & the Great Comet of 1812

* Tolstoy’s War and Peace (Volume 2, Part 5) — source text for the musical

* Dave Malloy’s website & notes on Comet

* Ars Nova production materials / archival info

* A.R.T. production history

* Broadway run timeline & Tony Awards overview

* Octet (Dave Malloy) – background and cast information

Listener discussion questions

* Great Comet blends musical genres with character psychology—what musical shift in the show hits you the hardest, and why?

* Which version of Great Comet (Kazino, ART, Broadway) do you think best suits the material—and what would your dream version look like?

* Pierre and Natasha’s final scene is deceptively simple—what do you think the moment reveals about each of them that the rest of the show doesn’t?

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