Natasha Pierre & the Great Comet of 1812 title with an illustration of a sun, moon, and comet

Musical | Utah Premiere
May 10—25, 2024

Dave Malloy

Adapted from War and Peace by 
Leo Tolstoy

Natasha, Pierre & The Great Comet of 1812

The much-anticipated Utah premiere of a recent Broadway favorite! Nominated for 12 Tony Awards, Natasha, Pierre & The Great Comet of 1812 is an electropop opera based on a scandalous slice of Tolstoy’s War and Peace. Young and impulsive, Natasha Rostova arrives in Moscow to await the return of her fiancé from the front lines. When she falls under the spell of the roguish Anatole, it is up to Pierre, a family friend in the middle of an existential crisis, to pick up the pieces of her shattered reputation. 

This award-winning musical, with its daring score and bold storytelling, is one of the most requested titles from PTC audiences in recent memory and will be presented in an immersive format never before seen in our 60-year history!

“Both the most innovative and the best new musical to open on Broadway since Hamilton!” – The New York Times

“This astonishing new musical adapts a 70-page section of [War and Peace], mashing up imperialist Russia and an eclectic range of styles, turning Tolstoy into a swoon-worthy, vodka-soaked party. It’s a sensual, wild ride: rollicking music, beautiful singing, a feast for the eye, ear and mouth.” – NY1

NATASHA, PIERRE & THE GREAT COMET OF 1812 is presented by arrangement with Concord Theatricals

$55-$79 ($5 more per ticket if purchased at the door)

Important Dates

Monday—Thursday, 7:00 PM
Friday & Saturday, 7:30 PM
Saturday, 2:00 PM

  • Post-show talkback with members of the cast and theatre artistic staff immediately following the 2 PM performance on Saturday, May 18th.
  • ASL-interpreted performance: Saturday, May 25th @ 2 PM

Please contact the Box Office at 801-581-6961 for more information.


Robin M. Woods Legacy Endowment



Edward Juvier

Creative Team

DAVE MALLOY (Music, Lyrics, Book, Orchestrations) has written fourteen musicals, including Moby-Dick, a four-part musical reckoning with Melville’s classic novel; Octet, a chamber choir musical about internet addiction; Natasha, Pierre & The Great Comet of 1812, an electropop opera based on a slice of Tolstoy’s War & Peace (12 Tony nominations, including Best Musical, Score, Book, and Orchestrations); Ghost Quartet, a song cycle about love, death, and whiskey; Preludes, a musical fantasia set in the hypnotized mind of Sergei Rachmaninoff; Little Bunny Foo Foo, a forest entertainment for small people; Three Pianos, a drunken romp through Schubert’s “Winterreise”; Black Wizard/Blue Wizard, an escapist RPG fantasy; Beowulf—A Thousand Years of Baggage, an anti-academia rock opera; Beardo, a reinterpretation of the Rasputin myth; Sandwich, a musical about killing animals; and Clown Bible, Genesis to Revelation told through clowns. He has won two Obie Awards, a Smithsonian Ingenuity Award, a Theater World Award, the Richard Rodgers Award, an ASCAP New Horizons Award, and a Jonathan Larson Grant, and has been a MacDowell fellow and Composer-in-Residence at Ars Nova and the Signature Theatre. He lives in Brooklyn

KAREN AZENBERG (Director/Choreographer) This marks Karen Azenberg’s twelfth season as Artistic Director at PTC. Favorite projects include the world premieres of Alabama Story and “i”; the regional premieres of Sting’s The Last Ship and Les Misérables; and The Curious Incident of the Dog in the Night-Time, Newsies, Sweet Charity, and The Play That Goes Wrong. Originally from New York, her work there includes Lyrics and Lyricists (92nd St. Y), Blocks (a collaboration with Jonathan Larson), Prom Queens Unchained, and choreography for Richard Greenberg’s The Dazzle (Roundabout Theatre Company). Among her other credits are National Tours of Carousel and Brigadoon, West Side Story (over 15 productions), and productions at Indiana Repertory, Geva Theatre Center, Alabama Shakespeare Festival, Goodspeed, and Utah Shakespeare Festival. Karen is a past president of the Stage Directors and Choreographers Society (SDC). Her favorite productions are her son Alexander and her daughter Emelia.

PHIL RENO (Musical Director/Conductor) has been Musical Director/Conductor for numerous Broadway shows: Something Rotten!; Elf!; Promises, Promises; The Drowsy Chaperone; The Producers; Thou Shalt Not; Dame Edna: The Royal Tour and Back With a Vengeance; Cats. Phil also conducted the Rockettes for six seasons at the Radio City Christmas Spectacular. National Tours: Joseph… (with Donny Osmond); original company Music of the Night; Starlight Express; Bob Fosse’s Sweet Charity. Off-Broadway: A New Brain; Nightmare Alley; Enter Laughing; Chess. Phil has conducted seven original cast albums and is a two-time Grammy nominee as producer of the Something Rotten! and The Drowsy Chaperone cast recordings. Previously at PTC: Sweet Charity, Chess, The Will Rogers Follies, Dirty Rotten Scoundrels, Sweeney Todd, Hello, Dolly!, Putting It Together, and The Prom.

JO WINIARSKI (Scenic Design) Jo’s previous designs at PTC were Native Gardens, The Prom, What the Constitution Means to Me, A Distinct Society, Ass, The Lifespan of a Fact, and Ain’t Misbehavin’. Jo’s Off-Broadway credits include HYPROV, Accidentally Brave, The Absolute Brightness of Leonard Pelkey, and Love, Loss, and What I Wore. Regional design credits include Guthrie Theater; Arizona Theatre Company; Utah Shakespeare Festival (over 40 shows); The Old Globe; Berkeley Repertory Theatre; Oregon Shakespeare Festival; Dallas Theater Center; and Geva Theatre Center. Additional credits include Wishes for Disney Cruise Line. Jo was the art director on Late Night with Seth Meyers (episodes 1-844) and received an Emmy nomination for art direction for A Colbert Christmas: The Greatest Gift of All

PATRICK HOLT (Costume Design) Patrick’s costume design credits include The Guthrie Theater, Milwaukee Rep Theater, Kansas City Rep, Alabama Shakespeare Festival, Pioneer Theatre Company, Arizona Theater Company, The American Dance Festival, Arizona Repertory Theatre, and The Colorado Shakespeare Festival. As Resident Costume Designer for Playmakers Repertory Company, he designed the world premiere production of Tazewell Thompson’s Constant Star, and the world premiere of Romulus Linney’s Gint for the North Carolina School of the Arts. Patrick’s work has been seen at The Kennedy Center for Performing Arts, The Moscow State Theater, The Utah Shakespeare Festival, The Carolina Ballet, The Public Theater, The John Houseman Theatre, The Old Globe in San Diego, Bonneville Media, The inaugural season of the Roanoke Island Festival Park, The American Dance Festival, and on HBO, CBS, A&E, and World of Wonder (where he was featured on three seasons of RuPaul’s Drag Race, and multiple other productions). Currently he is a Professor of Costume Design at the University of Arizona.

PAUL MILLER (Lighting Design) Previously at Pioneer: In the Heights, A Few Good Men, Much Ado About Nothing, I Hate Hamlet, The Count of Monty Cristo, The Curious Incident of the Dog in the Night-Time, Cagney, Mamma Mia, Sweeney Todd, Ass. Internationally, Paul’s work has been seen on stage at the Stratford Festival, London’s West End, Vienna, Teatro alla Scala (Milan), South Africa, China, Manila, Iceland and São Paulo. On Broadway, he has designed 5 musicals and been the Associate/Assistant on 22 others. 20+ designs Off Broadway and for City Center Encores, 19 National Tours (Hairspray currently). Regional: Pittsburgh CLO, Pittsburgh Ballet, Arizona Theatre Company, The Old Globe, Dallas Theatre Center, Chicago Shakespeare, Idaho Shakespeare, Asolo Rep, ACT, Cleveland Playhouse, Pasadena Playhouse, Goodspeed, and others. Television: Evil (CBS & Paramount+), Live from Lincoln Center, 23 Netflix specials, and the internationally televised New Year’s Eve Celebration from Times Square (for 25 years).

AARON HUBBARD (Sound Design) is enjoying his 16th season with Pioneer Theatre Company in sound mix and design. His favorite productions have been Sting’s The Last Ship, Sweeney Todd: The Demon Barber of Fleet Street, Next to Normal, and One Man, Two Guvnors. Aaron teaches sound production and recording at Weber State University, and in his spare time he records and produces music. His favorite star is his wife, Melissa, who puts up with all the late theatre nights.

TAMI LEE THOMPSON (Hair & Makeup Design) Previous credits include: Bonnie & Clyde and Agatha Christie’s Murder on the Orient Express (Pioneer Theatre Company), Sherlock Holmes and the Case of the Christmas Goose and A Christmas Story (Barter Theater), Jelly’s Last Jam, The Underpants, A Christmas Carol, Bluish, Intimate Apparel, Moonlight and Magnolias, Tick, Tick…. Boom!, and The Stinky Cheeseman and Other Fairly Stupid Tales (Alliance Theater), A Flea in Her Ear, Da, Born Yesterday, Twelfth Night, Inherit The Wind, and The Philadelphia Story (Asolo Theater); Twelfth Night, Coriolanus, and King Lear (Utah Shakespeare Festival); Bertolt Brecht’s The Life of Galileo (University of Notre Dame), and 42nd Street (Pacific Conservatory for the Performing Arts).

ALEXANDRA HARBOLD (Dramaturg) has served as dramaturg on PTC’s The Lehman Trilogy, What the Constitution Means to Me, Mary Stuart, The Lifespan of a Fact, Sweat, Oslo, The Curious Incident of the Dog in the Night-Time, Sting’s The Last Ship, I Hate Hamlet, An Inspector Calls, and Of Mice and Men. Recent projects include co-creating To See Beyond Our Time with Daniel Charon (Ririe-Woodbury Dance Company). Harbold is Co-founder and Co-artistic director of Flying Bobcat and Assistant Professor with the University of Utah’s Department of Theatre.

JAMES O. HANSEN* (Production Stage Manager) is thrilled to be in his first season here at Pioneer Theatre Company! Recent credits include: Clue (starring Sally Struthers), The Wedding Singer, A Christmas Carol, and Flashdance (starring Julia Macchio) at The Gateway Playhouse. Joseph…Dreamcoat (starring David Archuleta), Mary Poppins, and Wonderland at Tuacahn Amphitheatre. James earned a Bachelor’s Degree in Arts Management from Dean College. Special thanks to his Mom, Family, and Ostie for their love and support! DHH.

EMILY NACRISSA GRIFFITH* (Stage Manager) Emily has been with Pioneer Theatre Company for eight seasons and has worked on over 50 regional theatre productions. She graduated from Utah Valley University with multiple awards for her work, including the Kennedy Center’s Meritorious Achievement Award. She has also managed Sundance’s Summer Theatre for the past two seasons.

SARAH HUDSON* (Assistant Stage Manager) is pleased to be returning to PTC following work with them last season as both a Stage Manager and Company Manager. Her work with PTC includes Putting It Together, What the Constitution Means To Me, and The Prom! Other favorites include The Addams Family and Dirty Rotten Scoundrels with Summerstock Austin, the world premiere of Gold Mountain with Utah Shakespeare Festival, and Ragtime at Texas State University. She holds a BFA in Stage Management from Texas State University. Many thanks to Karen, Diane, and her family. Proud Equity member. 

BOB CLINE (Casting) is the founder of Bob Cline Casting in New York. He has cast film, TV, commercials, over 75 national tours, and numerous regional theaters across the country and has been associated with the casting for PTC for many years. Cline is currently a proud faculty member in Pace University’s theatre program, in charge of the senior BFA musical theatre majors. He is the Associate Director of Broadway Artists Alliance, enjoys working with The Open Jar Institute, and often teaches through The Growing Studio and The Actor’s Loft.

PIONEER THEATRE COMPANY (PTC) Now celebrating its 62nd season, the award-winning PTC is Utah’s premiere professional theatre company and leading arts organization of the West. Led by Artistic Director Karen Azenberg and Interim Managing Director Diane L. Parisi, PTC presents world-class productions that celebrate diversity in culture and society and serve as the connecting bridge between art and scholarship as an affiliate of the University of Utah. 

ACTORS’ EQUITY ASSOCIATION (AEA) Founded in 1933, AEA represents more than 51,000 professional Actors and Stage Managers nationwide. Equity seeks to foster the art of live theatre as an essential component of society and advances the careers of its members by negotiating wages, improving working conditions and providing a wide range of benefits, including health and pension plans. Actor’s Equity is a member of the AFL-CIO and is affiliated with FIA, an international organization of performing arts unions. #equityworks

*Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States




Study Guide

Content Advisory

Natasha, Pierre & The Great Comet of 1812

SYNOPSIS: The much-anticipated Utah premiere of a recent Broadway favorite! Nominated for 12 Tony Awards, Natasha, Pierre & The Great Comet of 1812 is an electropop opera based on a scandalous slice of Tolstoy’s War and Peace. Young and impulsive, Natasha Rostova arrives in Moscow to await the return of her fiancé from the front lines. When she falls under the spell of the roguish Anatole, it is up to Pierre, a family friend in the middle of an existential crisis, to pick up the pieces of her shattered reputation.

LANGUAGE: Mild sexual innuendos and themes of intimacy.

VIOLENCE: There is an onstage duel with pistols and the consuming of poison.

FOR WHICH AUDIENCES?: Appropriate for audiences of all ages. If Natasha, Pierre & the Great Comet of 1812 were to be made into a film, it would likely be rated PG.


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