A Queer Vietnamese-Houstonian-New Yorker Writer musing about the arts and absurdities when not screenwriting or playwrighting

An Eulogy for THE GREAT OF COMET OF 1812 on Broadway

On Sunday September 3rd, the blaze of the Great Comet of 1812 faded into oblivion.

There is no production like the Great Comet of 1812. I could see Hamilton (if I win the lottery), I could re-view Wicked or the Lion King, but the grand design of The Great Comet 1812 is so exclusive to the space it occupied in the Imperial Theatre. The visual immersive set-up of the Imperial Theatre is nigh impossible to replicate for traditional stages.

I can’t imagine it going on tour, even if, yes, there are plans for it.

Personal concerns on translating the Great Comet to other theaters:

  • The accessibility of ALL seating floors. The actors can easily access the 2nd-floor mezzanine seating, since the stairs from the orchestra to the mezzanine are visible to the mezzanine view.
    • As an attendee of the Houston Hobby Center touring productions, this extends my concern to whether the people situated on 3rd-floor galley seats would be left out of the immersive experience. While the Hobby Center has been the venue for mainstream productions like¬†Wicked and will be the venue for Hamilton, I picture the intimate Alley Theatre as more suited to the style of the Comet of 1812.
  • The near-omniscient visibility of the audience interaction.
  • The way its stealthily plants its lighting setup within the audience for a sensory payoff.

Thank you, composer, actor, and original Pierre Dave Malloy for making me starry-eyed.

Goodbye, my Gypsy lovers.

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Act 1 has ended. @greatcometbway

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