<p>Our Deep Dive of <em>Great Comet</em> comes to its conclusion. Actor/singer/diva/Great Comet superfan <strong>Natalie Walker</strong> remains to dig into the show’s electrifying soundscape, its roots in <em>War and Peace</em>, and how Dave Malloy explodes character, form, and musical vocabulary. Matt and Natalie break down what makes <em>Comet</em> 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.</p><p><strong>Guest introduction</strong></p><p><strong>Natalie Walker</strong> 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 <em>Mad Scenes</em> to Joe’s Pub. Her extensive history with <em>Great Comet</em> 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.</p><p><strong>Broadway Breakdown Links:</strong></p><p>Broadway Breakdown <a target="_blank" href="https://discord.gg/UTGVBprYtr">Discord</a></p><p>Broadway Breakdown <a target="_blank" href="https://bwaybreakdown.substack.com/?utm_campaign=profile_chips">Substack</a></p><p><strong>Timestamps</strong></p><p><strong>00:00 – Welcome & why </strong><strong><em>Great Comet</em></strong><strong> still matters</strong>Why <em>Comet </em>remains one of the most daring Broadway productions of the 2010s.</p><p><strong>04:30 – Translating Kazino’s immersive chaos to a proscenium</strong> Matt and Natalie break down the production design on Broadway.</p><p><strong>11:50 – “Charming” and the weaponization of flattery</strong> 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.</p><p><strong>34:20 – The Abduction: pacing, spectacle, and the Broadway-length debate</strong> Matt’s case for trimming the sequence and why certain Broadway changes improved storytelling.</p><p><strong>42:30 – Pierre, Natasha & the power of perceived monstrosity</strong>Pierre’s meeting with Natasha and how online behavior mirrors the novel’s themes.</p><p><strong>59:00 – Pierre’s emotional repression & the final confession</strong>A 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.</p><p><strong>1:24:45 – Social media, discourse & the collapse of the Broadway run</strong>How the “Great Comet discourse” spiraled, why it fed into Malloy’s <em>Octet</em>, and what the show reveals about online culture and human empathy.</p><p><strong>Key people mentioned</strong></p><p><strong>Creators</strong></p><p>* Dave Malloy (composer, lyricist, book), Rachel Chavkin (director), Sam Pinkleton (choreography), Mimi Lien (set design), Paloma Young (costumes), Bradley King (lighting)</p><p><strong>Original Broadway cast</strong></p><p>* Josh Groban (Pierre), Denée Benton (Natasha), Lucas Steele (Anatole), Amber Gray (Hélène), Grace McLean (Marya D.), Brittain Ashford (Sonya), Nick Choksi (Doléhov)</p><p><strong>Other notable performers mentioned</strong></p><p>* Heath Saunders, Shaina Taub, Kuhu Verma (<em>Octet</em>)</p><p><strong>Resources:</strong></p><p>* Original Broadway Cast Recording – <em>Natasha, Pierre & the Great Comet of 1812</em></p><p>* Tolstoy’s <em>War and Peace</em> (Volume 2, Part 5) — source text for the musical</p><p>* Dave Malloy’s website & notes on <em>Comet</em></p><p>* Ars Nova production materials / archival info</p><p>* A.R.T. production history</p><p>* Broadway run timeline & Tony Awards overview</p><p>* <em>Octet</em> (Dave Malloy) – background and cast information</p><p><strong>Listener discussion questions</strong></p><p>* <em>Great Comet</em> blends musical genres with character psychology—what musical shift in the show hits you the hardest, and why?</p><p>* Which version of <em>Great Comet</em> (Kazino, ART, Broadway) do you think best suits the material—and what would your dream version look like?</p><p>* 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?</p> <br/><br/>This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit <a href="https://bwaybreakdown.substack.com?utm_medium=podcast&#38;utm_campaign=CTA_1">bwaybreakdown.substack.com</a>