Natasha, Pierre and the Great Comet of 1812

Natasha, Pierre and The Great Comet of 1812 is written in an ornate coat of arms style on a red background. The stars, Denee Benton and Josh Groban are pictured at left looking up to an unseen sky.

Show Details

Performance Schedule


Run Dates

October 18, 2016 - September 04, 2017

Upcoming Scheduled Events

October 04, 2017

Running Time

2:25 hrs

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Show Description

Natasha is young, Anatole is hot, and Andrey isn't here… but what about Pierre?

Natasha is a beautiful ingénue visiting Moscow while she waits for her beloved fiancée Andrey to return from the war. In a moment of indiscretion, she is seduced by the dashing (but already married) Anatole and her position in society is ruined. Her only hope lies with Pierre, the lonely outsider whose love and compassion for Natasha may be the key to her redemption… and to the renewal of his own soul.

Inspired by a 70-page slice of War and Peace, this "vibrant, thrillingly imagined new musical" (NY Times) brings us just inches from Tolstoy’s brash young lovers as they light up Moscow in a “heaven-sent fireball" (NY Times) of romance and passion. Okieriete “Oak” Onaodowan (recently in Hamilton) will take over as Pierre beginning July 11.

Its renowned creative team has reimagined the Imperial Theatre as an opulent Russian salon, where every seat provides a unique perspective and an unforgettable experience. Dave Malloy has adapted a section of the book into a libretto, which he set to his original score that merges Russian folk and classical music with indie rock, electronica, and organ-influenced cadences.

Audience Advisory

THE GREAT COMET FEATURES A REVOLUTIONARY STAGING WHERE THE CAST AND MUSICIANS WILL BE PERFORMING AMONG THE AUDIENCE MEMBERS. Performances being promptly. Latecomers will be seated at the discretion of management during the first 20 minutes of the performance. There will be no late seating after that time JOSH GROBAN AS PIERRE THROUGH JULY 2. HAMILTON'S OAK ONAODOWAN BEGINS JULY 3!


Standard Tickets

Wheelchair seating and assistive listening devices are always available.

Phone: (212) 239-6200

Scheduled Performances

Please note if you need an ongoing Accommodation at a scheduled event, use the ticket links below.

Open Captioning

Oct 4, 2017

Or call 212-912-9770 to order tickets.

Need help?

Theatre Details


Imperial Theatre
249 W 45th St
New York, NY 10036

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Public Transportation

By Bus: Take the M7, M20, or M104 bus.

By Subway: 1, 2, 7, S, N, R, Q, W, A, C, E to 42nd St./ Times Square

Additional Accessibility Details

Wheelchairs: Wheelchair seating available. Theatre is not completely wheelchair accessible. There are no steps to the designated wheelchair seating location.

Seating: Front and rear mezzanines reached only by stairs. Seats 1,421.

Elevator\Escalator: There are no elevators or escalators at this theatre.

Parking: Valet parking lot: North side of street between Broadway & 8th Ave. Vans enter on 46th St. Valet parking garage: East of Shubert Alley, on south side of 45th St. between Broadway & 8th Ave. No vans.

Curb Ramps: (2.5" lip) SW corner of 45th St. & Broadway; NW corner 45th St. & Broadway.

Entrance: Double doors in series: 1st set (each 27") has one pair of automatic doors from 45th St to foyer with push-button control; 2nd set (each 27") has one pair of automatic doors to ticket lobby with push button control: 3rd set (each 25.5", attended by ushers) to inner lobby; 4th set (each 53", attended by ushers) into theatre.

Box Office: Main lobby. Counter 43". Assistance available.

Restroom: Unisex: Inner lobby. Door 33". Stall 96" x 66". Commode 17". Grab bars

Water Fountain: Ticket lobby. Spout 36".

Telephone: Foyer. Coin slot 53.5". Cord 29". Volume control. With TTY and electric outlet

Assisted Listening System: Reservations are not necessary. Drivers license or ID with printed address required as a deposit. Please call: (212) 582-7678 to reserve in advance.

Visual Assistance: Vision seats in the front of the orchestra for purchase online, in person, or on the phone

Folding Armrests: Fifteen row-end seats with folding armrests.

Reviews (3)


The slice of Tolstoy’s novel adapted by Dave Malloy has very little war, but none of its characters are at peace; high-strung high-society Muscovites, they are buffeted by competing forces of passion and honor. The dazzling score—which covers musical terrain from folk songs through rock, R&B and house music — captures their story in stirring and surprising ways; it is superbly performed throughout. This is a rare and marvelous event: amid the din of New York, an oasis of artful illumination. Director Rachel Chavkin’s staging preserves the sense of convivial welcome that makes the show feel magical. The musical is set in 19th-century Moscow but is straightforwardly a performance in the present. Each scene takes you by surprise; each song takes you for a whirl. Inventive and thoughtful, knowingly sincere, this is theater like no other in New York. It grounds you and transports you at once, and leaves you beaming with pleasure."

Read More of the TimeOut NY Review

Only moments into the show I breathed a happy sigh of relief. Under the astute eye of the director, Rachel Chavkin — one of the most gifted working today — the show remains a witty, inventive enchantment from rousing start to mournful finish. It is both the most innovative and the best new musical to open on Broadway since “Hamilton,” and an inspiring sign that the commercial theater can continue to make room for the new. (Heresy alert: I prefer this show to that one.)Oh, and as for Mr. Groban, making his Broadway debut? He’s not merely adequate; he’s absolutely wonderful.

Read More of the New York Times Review

“Natasha, Pierre and the Great Comet of 1812,” with Josh Groban and Denee Benton in the title roles, is a luscious, 360-degree immersive experience that feels like being smothered in velvet.  After transferring seamlessly from Ars Nova to Kazino, Dave Malloy’s innovative musical treatment of a tiny wedge of Tolstoy’s “War and Peace” has re-surfaced at the structurally revamped Imperial Theater in a Broadway transfer of the original, wondrously well-staged production by director Rachel Chavkin.

Read More of the Variety Review