@GreatCometBway is a testament to all you theater dreamers out there: take risks with your art, show people new angles of light.
— Caroline Cao (@Maximinalist) August 14, 2017
As the Hamilton lyric goes, I initially restrained myself with a “wait for it” attitude. I made the mistake of assuming that Dave Malloy’s acclaimed immersive Broadway production of Natasha and Pierre and the Comet of 1812 would outlive 2017.
But with word of the show closing’s on September 3, right in the middle of one of my first nights in NYC, I suddenly could afford a $110 ticket for August 13th, which was the day of Okieriete Onaodowan’s final tune and last bow as the leading role of Pierre.
Because I can pick up the source material Leo Tolstoy’s War and Peace anytime, but the Great Comet is not here to stay.
So I leave this musing before I delve deeper tomorrow.
The musical blockbuster Hamilton is borderline inaccessible to me. The closest and most affordable availability of Hamilton tickets lies around and over $540 for 2018 showings or the daily digital lotteries where, if won, a ticket is $10. But at least with the prosceniums of Hamilton, Lion King, and Wicked, their contents can be packaged easily into tour productions. Even Fun Home‘s thrust stage-format is translatable to the proscenium-traditional format to go on tour.
But a stylized stage like the Great Comet is so unique that it appears stationary and exclusive to where it is. How do you take and tour this production beyond the design of the Imperial Theater?
Everything went by, ephermal, like a comet. As in the realm of theater, you can never rewind it again. It’s all left in the visage of memory.
More thoughts tomorrow on the overall dazzling experience.
And if you will excuse me, I’m going to go read War and Peace on IBooks.