#shotasha

[mangomemos]

drew shotasha!

[whatwhat--pregameup]

tl;dr: it was worth EVERY CENT to go see Great Comet and I’m gonna be on those tour tickets if/when they go on sale

spoilers for things not on the album and things from other parts of War and Peace

Cast at this performance: Shoba Narayan (u/s) as Natasha, Brittain Ashford as Sonya, Grace McLean as Marya D., Lucas Steele as Anatole, Amber Gray as Helene, Nick Clark (u/s) as Andrey/Bolkonsky, Gelsey Bell as Mary, Paul Pinto as Balaga

Pre-Show:

- The lobby/hallways to the house look like a dingy back alley somewhere in Russia. After looking back at Dave Malloy’s Genius annotations, I realized that it was basically a recreation of his experience stumbling into a Russian club (which incidentally inspired a lot of the show)

- I was in a table seat on/in the stage, so we entered at the top of the stage through the huge doorway that gets used during the show. I was literally breathless when I walked in because I had a chance to look out over the entire theater and it’s…it’s just stunning.

- There’s Russian opera/folk music playing in the house, which is p cool

- So when the show starts, there’s an air raid siren (and I fought down the urge to go “SILENT HILL OH NO”) and most of the cast literally jumps out (there are TONS of hidden doorways in the walls) and runs around/through the audience.

- It was at this point that we got free potato dumplings! I think they’re only given to the stage seats? But they were delicious. - Paul Pinto (Balaga/hella people) was our dumpling deliverer and just a hella cool dude in general - my jaw practically hit the floor when I saw Amber Gray (Helene) walking around. holy hell if I didn’t know I was queer before then I SURE DO NOW

Prologue:

- the opening accordion note is REAL long and the first verse actually happens while Andrey is bidding farewell to Natasha and going off to war. He gives her a necklace. This is actually p important as a symbol but this also sets up Natasha sympathetically from the outset because you get to see her and Andrey together

- Shoba Narayan sings beautifully, is totally charming as Natasha, and incredibly sweet in person. I hope she gets to do all the things ever. <3 

- HOW DOES THE ANDREY/BOLKONSKY QUICK CHANGE HAPPEN SO DAMN FAST??? I JUST SAW ANDREY ALL DRESSED UP FOR WAR GO THROUGH THAT DOOR?????? the costume department is doing one hell of a job

Pierre:

- not gonna lie I was a little skeptical of Josh Groban because he has That Voice, but rest assured, he DOES deliver “dear bewildered and awkward” Pierre. 

- watching Old Bolkonsky, Dolokhov, and an ensemble member all playing guitar together was p great, especially with Bolkonsky hobbling away

- I could dedicate an entire post to little things that Lucas Steele did throughout the show tbh. Anatole is ALWAYS up to something, but for now I’ll just mention that he takes a lot of shots during this song and stumbles right by Pierre when he goes “you empty and stupid contented fellows”

- have I mentioned that I’m still 500% queer for Amber Gray while Helene just has this Look on her face like she’s just so tired of Pierre’s Philosophical Melodrama Hour

Moscow:

- Marya is noticeably less excited about Sonya arriving. Honestly 25% of Marya is just in Grace McLean’s facial expressions and mannerisms and she’s already a Large Ham on the recording so. 

- Grace McLean gestured at our table when she said “faded and fading princesses”.

- Natasha does this little dance where she twirls around while humming to herself and it’s just…it’s so cute.

The Private and Intimate Life of the House:

- holy SHIT I need to take a minute to talk about Gelsey Bell. She actually plays a bunch of minor/incidental roles throughout the show, and the things she can do with her voice…holy crap.

- if you didn’t feel bad for Mary on the cast album then uh watching Gelsey will change your mind. especially for anyone who has experience caring for an aging family member.

- Natasha’s “I know they’ll like me, everyone has always liked me” got a healthy laugh from the audience

- one of the ladies at my table was the “cheap French thing” who Old Bolkonsky flirts with and it was hilarious. 

- Paul Pinto (Balaga) also plays the butler/servant during this scene with this hobble and hunch, and he moved SO quietly that I legit didn’t notice him moving in between me and the woman next to me. but he served us shots (of water), which was p cool

Natasha and Bolkonskys:

- Natasha and Mary fetch stools and sit down at one of the tables right in the middle of the stage. silently getting people to scoot over is just as awkward as you might imagine, but also really funny to watch and adds to the general awkwardness of their interactions that later contributes to Natasha’s refusal

No One Else:

- aka the moment where Shoba Narayan slayed my whole existence

- the staging for this, I just. where do I even start. Natasha in the moonlight, singing to the audience, the gentle winter snow at the end, fuuuuuuck

- at “I feel like putting my arms around my knees”, Natasha was sitting on the steps on the other side of the stage, right next to a girl who probably wasn’t more than 12-13 years old. when she said “like this” and put her arms out, she did it like she was showing her how and it was THE CUTEST 

- also you get to see Andrey reading her letters and Natasha desperately reaching out for him, and it…wow. man. my heart. it’s so much sadder in person.

- she also delivered part of the “maybe he’ll come today” lines to another audience member sitting next to her, like she was looking for validation, and I just….oh sweetie.

The Opera:

- Paul Pinto sighting: the guy who goes “welcome to the opera” and announces various characters

- Sonya jumps a little when Marya comes back in because she’s just so forceful

- EVERYONE points at Natasha for “Natasha smooth your gown” and her facial expression is kind of like “okay, geez”

- Sonya and Natasha holding hands and running around together is cute asf

- okay, having seen the opera in person, I gotta say…it’s still really hard to explain. but I’m gonna try.

- “act 1″ features 2 main singers (played by whoever plays Mary and Balaga) and two dancers (your featured dancers, basically). it’s basically opera by way of performance art and it is purposely weird. fun fact: Tolstoy was not fond of opera and straight up uses “pretentious” in the text of War and Peace (check it out here!)

- lights up after the first opera scene, Sonya was tilting her head to the side. same, girl, same

- something I didn’t quite pick up on the album: both Sonya and Natasha do the initial description of Anatole when the doors open. it’s hard to notice on the album and I didn’t really put it together until Natasha was like a few feet away from me

- when Anatole shows up, the bass is BOOMING. like, it shook the floor. as it should. and Lucas Steele’s poses on the beats, dear lord. and true to character, he was flirting with/eye-fucking audience members as he walked down the stairs

- 100% getting bowie vibes from Anatole tbh

- Lucas Steele has the most amazing blue steel face (approved by ben stiller, for the record), everyone else can go home. also his cheekbones tho

- towards the end of the opera, Natasha watches Andrey die (he gets dramatically opera-stage-murdered by two ensemble members who pull long red sashes). she’s visibly shaken by it and Anatole enters her box (giggity) right after that

Natasha and Anatole:

- when he seizes her from behind and kisses her on the neck, Anatole GOES IN. like, grabs part of her skirt and lifts it up partway. it’s, uh. something.

- I’m not 100% sure if it’s meant to be a real thing that happens, honestly?? I’m gonna have to check the text of war and peace again to be sure but the way it’s staged, I honestly thought it was something Natasha briefly imagined and then tried to pretend that she didn’t

- Anatole directed the “isn’t that so” to a male audience member with a little wink wink nudge nudge thing

- also, hello unwanted touching: he grabs her wrist at “it’s alright, Natasha, I’m here” and it doesn’t look like a wanted touch on those ~bare arms~

The Duel:

- OH MAN THIS IS SO MUCH FUN. another instance of getting free shots, and toasting with the cast

- IT TURNS INTO A RAVE. straight up. strobe lights and everything.

- Grace McLean has A Booty. Instance #2 of “if I didn��t know I was queer before…”

- and how do I know that? because she was wearing a catsuit and waved her butt in my face. and smacked it with a riding crop. 11/10 she can get it.

- also there was another dancer in the ensemble who danced up on the railing next to our table basically wearing leather that wouldn’t be out of place at folsom street fair. one of the ladies at my table was caught a little off guard but I swear to god in that moment I thought “eh this is nothing, I’m from San Francisco”

- Paul Pinto sighting: the duel announcer

- Pierre basically wins the duel because everyone is trashed. He’s so drunk that he stumbles and fires too early (giggity), and lucks out because he shot Dolokhov (who is also quite drunk by this point) in the shoulder

- based on my understanding of the album, I expected Helene to be a lot more sarcastic/cold at the end of the duel, but she looked surprisingly shaken. I’m not sure if it was because she almost lost her boytoy or because she would lose the material comfort/privilege of being married to her husband, but it was definitely interesting to see

Dust and Ashes:

- aka Josh Groban’s “for your consideration” moment for the Tony voters

- ok but for real I saw some glassy eyes in the audience during this one, and I totally get it. this song is beautifully written (”we are a god and angels weep” is out of Tolstoy’s writing, IIRC, and it’s brief but impactful) and it is a complete emotional journey. I, too, am ready to wake up.

Sunday Morning:

- when Natasha looks into the mirror, she’s positioned so that Pierre is right behind her, i.e. he’s reflected in the mirror. she really did see her future (War and Peace spoiler: Natasha and Pierre are happily married later on in the book).

- oh man, nothing like 19th century church to fan the guilt that goes with budding sexuality/a crush

Charming:

- ok so when this song starts, Natasha has just taken off her dress. She’s only in lingerie when Helene drops in. she’s literally exposed/vulnerable

- Natasha’s face when Helene tells her that Anatole is into her though!!! anyone who’s known a teenage girl knows that facial expression. it’s fucking precious

- Natasha goes from lingerie -> Helene’s fur coat -> her ball outfit (final chorus). she’s in her underwear for most of it, so make of that what you will

- a really important moment: Helene removes the necklace that Andrey gave Natasha (with some protest) and replaces it with a multi-string pearl necklace (and who wears multiple strings of pearls first…?)

- guys I’m unapologetically queer asf for Amber Gray (#3)

- at the very end, Natasha is copying Helene’s dance moves with her little dress swishes. it’s cute but also a nice little bit of symbolism.

The Ball:

- good god Shoba Narayan is an actual princess ok

- it’s interesting that Natasha and Anatole are actually dancing on opposite sides of a circular portion of the stage when Natasha’s describing their dance. you get a real sense of her inner monologue/the fact that the two of them are having somewhat different perceptions of what’s going on

- I’m actually kind of surprised at how many people listen to the album and don’t really register the fact that Anatole is blocking Natasha’s path/hurting her when he grabs her arm. pair it with the music and that already sounds like Bad Times, but it’s definitely Not A Good Thing when combined with watching Natasha’s reactions (she’s literally running from him)

- the sound when they kiss is the entire ensemble playing the rims of water glasses. Helene’s note is the longest.

- Anatole’s face when Natasha goes “but I love you” is hilarious and a pretty good hint (just in case anyone missed it) that he is not interested in her affections beyond an assist to get her into bed with him

- during the “I’ll do anything for you” exchange, Natasha is reaching up with outstretched open hands. Anatole has a closed fist. it’s a small thing, but it says a lot about the power dynamics at play

Letters:

- Anatole’s love letter to Natasha gets “sent” through the audience. It got a little held up and Natasha was desperately/frantically gesturing for them to move it along. eventually, a guy got up from his seat to hand it to her and he got a round of applause

- the second repetition of “a love letter”, Anatole does the hand motion for a woman’s figure (you know the one)

- Lucas Steele holding out every extended note just because he can. 

- “just say yes” is delivered with Anatole holding Natasha by the waist/hips and kneeling in front of her.

- Anatole fist pumping after Natasha goes “yes! yes!” and lets go of him

- Anatole has this smug expression as he walks off at the end, and Sonya makes eye contact with him as she’s approaching. it’s a really small silent exchange but you can immediately tell that Sonya knows that something is up and isn’t having any of it

Sonya and Natasha:

- you know that text post about “you know you’ve become an adult when you watch the Little Mermaid and you’re like ‘YOU DON’T EVEN KNOW HIM’”? yeah, that’s basically this scene

- Shoba!Natasha put so much sass into “I do not grasp the question” and “you don’t understand anything”. it’s little mannerisms like that that make her 100% believable as a teenager tbh. I swear I caught her rolling her eyes at one point and I was like “yep definitely made that face before”

- literally sitting between them during this argument is intense my dudes.

Sonya Alone:

- I’ll be honest, I have a habit of skipping this song on the album because it’s such a lull between the intensity of the end of the preceding argument and the beginning of the abduction. but in person…holy fuck.

- Brittain Ashford is everything in this scene. obvi still open to other actors’ interpretations, but her voice is just so right for Sonya’s raw sadness and determination

- this scene ends with Sonya reaching for Natasha, who just holds her letter and turns her head away, and my heart. augh my heart.

Preparations/Balaga/The Abduction:

- doing these all together because it just…happens

- Pierre is actually ptfo at the beginning of this scene (implied bc he was drinking); Anatole accidentally wakes him up on his way out, so his “ah Anatole” is actually sort of half-asleep

- I caught a glimpse of the first chair cellist grinning ear to ear once the ostenato part starts and I was just like “YEAH GIRL GET IT”. she was so pumped to do this sequence

- the patter in this is real and Nick Choksi fuckin kills it.

- also it was during this scene that he smacked a teacup (and it was a very nice looking metal one too!) down onto our table in front of me while listening to Anatole’s nonsense. he would later take my hand and make sure I used it to raise a glass during the abduction

- it’s very subtle but you can catch various ensemble members grabbing instruments and getting ready towards the middle/end of Preparations. Amber Gray caught my eye (obvi) because Helene basically goes and puts on a vest as soon as she’s out of the scene and gets a tom. Amber Gray playing the tom in the lead-up to Balaga is my aesthetic (#4)

- the shakers come out with the rest of the ensemble at the beginning of Balaga - we were given a basket and basically told to take one and pass it down. you’re allowed to keep them and I brought mine home with me :)

- Paul. Motherfucking. Pinto. Dude is full of so much energy that it is infectious 

- it’s impossible to not sing along when people are playing instruments/dancing/singing right next to you

- got another round of shots before Pierre’s toast

- during the “it’s a russian custom” break, Anatole sat down next to two older ladies and hardcore flirted with them #BlueSteele

- so the “fur cloak” scene features a pizzicato violin soloist (who is wearing the fur cloak in question). she has tattoos on her hipbones that look like the holes on a violin that are highly visible with the outfit she has on. A+ casting right there

- Pierre does the ‘ding’. It was a great ‘ding’ and I am v proud

- Gelsey sighting: the maid

In My House:

- the shakers stopped IMMEDIATELY. Grace McLean has THAT MUCH PRESENCE.

- so she starts off this song with a smile, but it is through clenched teeth and utterly frightening. holy fuck I do NOT want to be in trouble for the rest of my life after that

- small fumble on “what is it to me”, but Shoba said it and corrected it so quickly that it actually worked because it sounded like Natasha had a case of Angrish because she was so upset

- another instance of “I am sitting in the middle of this argument and this is incredibly uncomfortable” because it’s so intense

A Call to Pierre:

- jesus christ do NOT piss off Marya D. but I love how it’s not just anger, there’s legitimate worry and panic. like, I get the feeling she’s about to cry just from all of the conflicting feelings leaking out of her eyes

Find Anatole:

- the lights go up when Pierre goes to the club, and I’m sure it’s no coincidence that it makes the table seats super visible to the orch/mezz audience

- Helene is in her lingerie when hiding/comforting Anatole. Considering their interactions throughout this show, that’s definitely on purpose

Pierre and Anatole:

- last instance of “sitting so close to an argument that it’s uncomfortable”

- Anatole “frowning and biting his lip” looks a LOT like a small child sulking during/after a temper tantrum. Also Lucas fumbled with the stool a bit and knocked it over which added to the whole tantrum/possibly slightly disoriented from Pierre shaking him thing

- Natasha’s poisoning is VERY obvious (which is obvi something you don’t get from the album alone). You see her coming down the steps with the arsenic and water and she is in the middle of the stage, between Anatole and Pierre when she goes through with it

- The Note. holy fuck.

Natasha Very Ill:

- Anatole is actually very slowly on his way out through the doors during the first part of the song. He disappears riiiiight about the time that the electronic parts stop (not a coincidence)

- There’s a lot of silent acting going on during the show, but I mention it here because what really struck me was Pierre comforting Marya during this scene.

Pierre and Andrey:

- Andrey is both noticeably changed from the war and heartbroken over Natasha. It’s no surprise that he can’t bring himself to forgive her, considering the state he’s in (minor W&P spoiler: he eventually does tho) Nick Clark's "never speak of that again" is more forceful than on the album - he basically shouted it. definitely got than anger

- I noticed Sonya holding Natasha in the background. not sure if they were both crying

- At the very end of this scene, Andrey goes and sits (well more like collapses into) the chair that his father sat in earlier in the show. and he ignores Mary (who looks so excited to see him, poor girl) on the way there

Pierre and Natasha:

- ok I felt my eyes starting to do The Thing during this scene. it is heartbreaking to watch frail, ill Natasha weakly walk down the stairs in front of you while clinging to the railing for dear life when you’ve been watching her dance/run/sing up and down them for the entire preceding show

- “I don’t know, I don’t know at all” hit me right in the gut. I thought I might cry, but I figured that with my dry-ass eyes, my contacts would take care of it…

- …and then The Line happened. I felt exactly one tear make it out (which is a LOT for my stupid dry allergy-tastic eyes). I also saw a lot of glassy eyes in the audience and heard a lot of sniffles

The Great Comet of 1812:

- so I was seated super close to the comet itself. it’s right over the center pit/Pierre’s salon and I was maybe a few feet from that, so it was amazing to watch it come down.

- it’s really hard to describe the comet chandelier but I can tell you that the “actual” comet is just one bulb, but when it happens, it is the single brightest thing in the theater. it’s also the final light to go out after the giant chandelier lights up and fades out.

- Pierre sits down to watch the comet at the very end which seems like a neat cue for the groban stans to stop staring at him and pay attention to the really cool thing that is happening

General/stuff I thought about later/stage door:

- something I realized after I left: Andrey wasn’t the family’s saving grace, Pierre was. within the bounds of the show, he saves Natasha and her family from disgrace and Andrey and Anatole’s lives (avoiding a duel and Anatole getting charged with bigamy). in the larger context of the book, he also saves the Rostovs from their financial issues because ends up inheriting his father’s title and money and Natasha marries him.

- “stupid child” really is a good descriptor for Anatole

- Or Matias, the music director, is practically a one-man show. honestly I’d see this again just to watch him jam out. his conducting is quite possibly the most entertaining, non-traditional conducting I’ve ever seen

- basically everyone besides natasha/sonya is part of the ensemble at some point outside of The Abduction sequence. and a lot of them play instruments (see: Helene on the drums, Dolokhov on guitar). it’s rad.

- Dolokhov has some srs eyeliner on his lower lashline - but only on the lower lashline (and nobody else does). I wonder if it’s supposed to be for preventing glare since he’s a “crazy good shot”

- there are a bunch of interactions between Anatole and Helene that are uncomfortably close for siblings (and Helene coddling him in her lingerie near the end of the show basically seals the deal). it’s a great nod to the book. 

- Helene/Dolokhov/Anatole is as close to a canon OT3 as I’ve seen anything get in a long time.

- there are same-sex pairs of dancers throughout the show. I managed to spot 3 during The Ball, but there might be more. 

- This show is what I wish our entertainment could look like all the time. colorblind casting, vibrant production, and so much fun. 

- Josh Groban is the nicest dude. His publicist kept coming out to remind us that he didn’t have time to do photos since they were on their way to something else, but Josh insisted on signing everything that he could. I also happened to capture a pretty excellent little moment (here)

- Shoba Narayan was also super sweet! I’m gonna forever side eye the kid next to me who thought that “you sound just like Denee” was a good compliment tho

- Gelsey reassured a fan that Mary’s life does get better later on in the book

[virgoblush]

hi if anyone has the bootleg of the great comet with shoba narayan as natasha (and i think dave is in it as pierre) hook ya girl up p Le as e

[natalyarostovva]

natasha rostova’s ball gown

design vs stage

[geeses-meeses]

Thoughts on Shotasha

So I mean I just posted about GC, but I loved this show so much jfc

She’s smol Very very smol Her voice is so good?? Like the tone took me a little bit of time to adapt to since I’m so used to Denee and Phillipa, but it’s really sweet and just lovely Has anyone mentioned how gorgeous she is

I just found her to be really cute the whole show she really plays to the naiveness of Natasha really well

Her giggle gave me life

Her chemistry with Amber gave me life She was the cutest thing around Lucas Her dynamic with Gelsey was great She was very flustered with all of Graces fawning which was kinda ehh She and Brittain were cute She and Josh didn’t have the best chemistry but their voices mixed very very well At the end it looked like she was basically crying so I started tearing up too I really liked the way she sang the beginning to Natasha and the Bolkonskys Also she killed No one else Instead of sing/talking “Don’t touch me” during “In my house” she kinda just screamed that line at Brittain For like the first 10 seconds of “In my House” she doesn’t even look at Grace and just stares at Brittain with the most betrayed look ever Her face after the opera scene made the whole theatre laugh I love her so much Her smile is so genuine During “charming” she looked very pleased with herself as she kept spinning in Amber/Helene’s fur cloak I’m not quite sure how to explain it but I like the way she runs around the stage? Like she makes sure her skirt does the swish™

I want more Shotasha

[just-all-nerves]

I should be sleeping but I’m crying because I’m stalking Shoba Narayan’s Instagram while composing my letter to her and I found a picture from Comet’s debut where she called Nick Choksi her “bhaiya,” her big brother. I am crying this is two Indian people in a Broadway show and we are losing this beautiful, diverse show and tonight was Shotasha’s last night but god dammit I’m just so happy that they got there. I’m so proud of them and can’t wait to see what else they’ll do

[asiantheatre]

Shoba Narayan via Instagram | #shotasha day 2

[lesbitchin]

i love the great comet cast trend of combining cast member names with their characters’ names (shotasha, lulene, blainatole, etc.)

[mangomemos]

who wants to scream about how amazing shoba narayan is with me???

[geeses-meeses]

So the show just finished and then Josh and Lucas talked a bit at the end about donating to charities before we left the theatre. It was lovely and then just when I think it’s the end, Lucas chimes in : “I will kiss you-no discrimination men, women, dogs-on the cheek if you donate $50. If both you and your spouse want one, we can do a threesome for $75.” And just right after he said that, at the back of the stage, a woman shot out of her seat with-Lo and behold-a $50 in her hand.

I think Lucas was the most surprised out of all of us.