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Natasha, Pierre & the Great Comet of 1812

University of Minnesota Duluth

2024

Photographed by Alexander Messenger

Great Comet_037.jpeg

The lighting took inspiration many spaces and styles in order to support the soaring emotions and changing status of the characters. The beginning before Anatole arrives was a stylized version of the lighting found in opera entrances to create an air of aristocratic tastes, and more dreamlike when Natasha had her ballad. When Anatole arrives the lighting took more inspiration from clubs, using bolder and brighter colors and movement to reflect the influence he has on Natasha, creating a space that feels almost too much at times as young Natasha struggles to properly understands this changed world. As a contrast and a relief, Pierre's moments were smaller and more intimate, allowing the audience to breathe. After the failed abduction the lighting signals another change in the world into something that feels unfamiliar and hostile as Natasha's world falls apart and she deals with the results of her actions. The final comet washed over both the characters and the audience, signaling new life and catharsis.

Production Team

Director: Thomas Jacobsen

Scenic: Lisa Scott

Asst. Scenic: Sheridan Cornett

Props Coordinator: Scott Boyle

Costumes:  Moriah Babinski

Asst. Costumes: Morgan Ryals, Jennika Bunney

Makeup/Hair: Caitlin Quinn

Asst. Makeup/Hair: Emmi Dunkin

Sound: Jon Brophy

© 2025 by Samantha Brown

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