美国国家公共电台 NPR 'The Great Comet': 'Hits All Of The Checkmarks' Of A Broadway Experience（在线收听）

MICHEL MARTIN, HOST:

Tomorrow is the 71st Tony Awards recognizing excellence in Broadway theater and the production with the most nominations for the season - that would be 12 - has already been lauded by critics for its diverse casting wildly innovative set and a fresh take on a classic story.

(SOUNDBITE OF MUSICAL, "NATASHA, PIERRE AND THE GREAT COMET OF 1812")

UNIDENTIFIED ACTORS: (As characters, singing) A little bit. It's a complicated Russian novel. Everyone's got nine different names. So look it up in the program...

MARTIN: You might be thinking of another musical. We're talking about "Natasha, Pierre And The Great Comet Of 1812." It's based on a portion of Leo Tolstoy's epic novel "War And Peace" written by Dave Malloy who was also the composer and lyricist. It follows the misadventures of young, beautiful and very naive Natasha who heads to Moscow to wait on her fiance's stinted war. While there, she falls under the sway of an unscrupulous nobleman who starts an affair with her for the fun of it. Meanwhile, Pierre, a disillusioned aristocrat tries to help.

And, yes, there's a comet. Other than that, it's hard to explain. But, anyway, our next guests are at least two of the reasons cited for the show's success. Both have been nominated for Tony Awards this year. Rachel Chavkin is the director of the play and Denee Benton portrays Natasha. They both join us from our NPR studios in New York. Denee Benton, Rachel Chavkin, thank you so much for speaking with us.

RACHEL CHAVKIN: So happy to be here.

DENEE BENTON: Yes. Thanks for having us.

MARTIN: So where to begin, Rachel. I just have to start with you because this is quite a production. Part of the audience is literally onstage, part of the stage is in the audience, the performers are literally singing and dancing and playing instruments right next to you, talking to audience members. And then during this song...

(SOUNDBITE OF MUSICAL, "NATASHA, PIERRE AND THE GREAT COMET OF 1812")

UNIDENTIFIED ACTORS: (As characters, singing) In 19th century Russia, we write letters. We write letters. We put down in writing what is happening in our minds.

MARTIN: They are actually handing out letters to the audience.

CHAVKIN: That they write every single night, and some of them illustrate.

MARTIN: I got one of them. You know, this could have been a hot mess. So I just have to ask how did you think about directing this? Was there a guiding principle, like what was your north star?

CHAVKIN: I mean, the original north star for the whole production was this night that Dave had in Moscow a number of years ago where he stumbled into this cafe and there was a classical pops trio playing. And he ended up sat next to the viola, and there were shakers and dumplings and vodka on the tables.

So, like, that story was the spirit that Mimi Lien our incredible set designer and I took and ran with. And so it was actually very much about creating chaos, but also making sure that every moment of the story was as clear as possible. And so there is a huge amount of energy in the room. But I think the focus on the storytelling moments and those moments of the, you know, intricacies of this melodrama, the room really comes together.

MARTIN: A good reason to turn to Denee Benton now. Hello, Denee.

BENTON: Hi.

MARTIN: Do you remember what it was that you connected with in this character, this young rich Russian countess?

BENTON: Yeah. I think it was her tenacity for life. She's so full of the wonder that the universe has when she's looking at the moon and the stars and sort of sees what they're capable of. And the poetic nature that she sees the world is very close to how I see the world.

MARTIN: So let's play a little bit of "No One Else."

(SOUNDBITE OF MUSICAL, "NATASHA, PIERRE AND THE GREAT COMET OF 1812")

BENTON: (As Natasha Rostova) And your child-like eyes and your distant smile, I'll never be this happy again. You and I. You and I. You and I.

MARTIN: Denee, I read a very poignant interview with you where you talked about growing up as a young, black girl and not seeing a lot of people who look like you in musicals, in romantic comedies. But I do want to ask if there was a part of that that you had to release in order to fully embrace yourself in this role.

BENTON: It's interesting. I think that a lot of people are often shocked that that's the culture that we still live in. But it is, and I think that our industry has a lot of power to change that and represent the truth of what actually exists in the world which is that there are tons of ingenues walking around the Earth of every race.

I think for me more than having to release those insecurities, I think it caused me to embrace parts of myself that I always knew to be true and an extra layer of already getting to do a role that I feel I'm so perfect for is also getting to affect this conversation and affect how other black girls see themselves and how other people see them and what they feel they're capable of.

So I'm honored to get to add to that conversation. And it's also just been a huge confirmation to me of what's possible when you have the courage to bring yourself to the work and not get lost in the limitations that other people or society might have for who they say you can be.

MARTIN: And, Rachel, do you mind if I ask you this question, too? It makes me wonder whether five years from now we will be having this conversation. I cannot help but note you are the only woman nominated in your category.

CHAVKIN: You know, that opportunity gap is a real thing. And I understand why commercial producers are reticent to risk the amount of money that is attached to any Broadway show with someone who maybe has not gone through that exact process before. The problem with that is it's a self-fulfilling prophecy of the field remaining consistently insular.

And so I think there needs to be a real across-the-board commitment that parity is not just a nice thing, but a core value to the work that we do. And, I mean, you know, it could change overnight the minute that commitment is real.

MARTIN: Rachel, for you, and then Denee, I'll go to you next - Rachel, for those who have not seen the play or who haven't heard the sound - I mean, going to a Broadway play is still a big commitment for a lot of people. It's expensive. It requires time and effort, especially for people who don't live in New York. What would you like people to know about this production that might encourage them to see it?

CHAVKIN: It really is the world that I personally feel like I want to live inside always. And that spirit of joy and community that the cast creates with the audience. It's an unbelievable amount of energy and integrity, and it makes space for these moments of really quiet grace.

(SOUNDBITE OF MUSICAL, "NATASHA, PIERRE AND THE GREAT COMET OF 1812")

UNIDENTIFIED ACTORS: (As characters, singing).

MARTIN: Denee, what about you?

BENTON: The heart of the show will move you. There will be tears. There will be laughter. It really - it hits all of the checkmarks for me and to the kind of experience I want to have when I spend that money to sit in a Broadway theater for a couple hours.

(SOUNDBITE OF MUSICAL, "NATASHA, PIERRE AND THE GREAT COMET OF 1812")

UNIDENTIFIED ACTORS: (As characters, singing) The great comet of 1812. The brilliant comet of 1812.

MARTIN: That was Rachel Chavkin and Denee Benton. Rachel Chavkin is the director and Denee Benton is the female lead of the musical, "Natasha, Pierre And The Great Comet Of 1812." Josh Groban, by the way, stars as Pierre through the end of the month. They have both been nominated for Tony Awards which will be awarded this weekend. Thank you both so much for speaking with us and congratulations to you both.

CHAVKIN: Thank you so much.

BENTON: Thank you. Thanks for having us.