New productions to come to London’s West End: Are these unique takes on musical theatre a stretch too far?

The end of 2024 and beginning of 2025 is already sure to be bringing some exciting new shows to West End theatre. Some already announced, and very highly anticipated, shows include Disney’s Hercules, The Seagull starring Cate Blanchett, Richard II with Jonathan Bailey, and the theatre production of Sam Selvon’s novel The Lonely Londoners. As productions of classic shows like The Phantom of the Opera and, London’s most popular, The Lion King continue, theatregoers can expect new lesser-known shows, some long anticipated and some of new material. Two of particular interest are a new production of Dave Malloy’s Natasha, Pierre, and the Great Comet of 1812, which is currently in its first performances of a sold out run, and the transfer of Stephen Sondheim’s final musical, Here We Are, to begin performances in April at the National Theatre. While Great Comet is only just beginning its run, and Here We Are not even having begun rehearsals, casting announcements, preview photographs, and previous productions can give us a taste of what we can expect.

Dave Malloy’s Natasha, Pierre, and the Great Comet of 1812 was first performed Off-Broadway in 2012 at the Ars Nova theatre, and, in 2017, transferred to Broadway with a new cast of Josh Groban as Pierre and Denée Benton as Natasha. This production was nominated for 12 Tony Awards, winning Best Scenic Design and Best Lighting Design. While the musical did not make an especially substantial mark on Broadway, the story, based on a dramatic section of Leo Tolstoy’s War and Peace catchy ‘electropop opera’ songs, certainly makes for a unique addition to the many known historical musicals.

Having such a highly regarded director and impressive cast was to be expected for the final Sondheim musical’s West End debut, making it highly anticipated for both long-term and new British Sondheim fans

The Donmar Warehouse announced Great Comet to be directed by Oliver Award-winner Tim Sheader, whose previous works include Into the Woods and Jesus Christ Superstar. Casting has Chumisa Dornford-May (The Phantom of the Opera) as Natasha and Declan Bennett (independent singer/songwriter) as Pierre working alongside an impressive cast of ensemble and characters. After a week of previews, the production released a batch of first-look images, showing how the small venue has taken advantage of lighting and set design to create a visually stunning musical despite limited space. Costume choices (designed by Evie Gurney) do raise some questions regarding the musical’s setting and interpretation. We can see character’s Marya, Sonya, and, at times, Natasha and Dolokhov, wearing costumes somewhat relevant to Tolstoy’s set time period, however others including Pierre, Anatole, and Prince Bolkonsky wear black leather clothing with straps and belts resembling club-wear, echoing in the outlay of the set. Perhaps the reasoning for these contrasting and, ultimately, strange choices will become more apparent when watching, however the dressing of Pierre, supposedly one of the richest men in Russia, in a hoodie and leather jacket seems an odd choice.

On the other end of production is National Theatre’s Here We Are, a transfer of the off-Broadway show directed by two-time Tony Award-winner Joe Mantello (WICKED, Assassins). Additional casting is to be announced, however so far it is to include Tracie Bennett, Chumisa Dornford-May, Jesse Tyler Ferguson, and Rory Kinnear. Having such a highly regarded director and impressive cast was to be expected for the final Sondheim musical’s West End debut, making it highly anticipated for both long-term and new British Sondheim fans. The American composer and lyricist, unfortunately passing away in 2021, is known in the musical theatre industry for his recognisable music style in works including Into the Woods, Company, Sweeney Todd, and Merrily We Roll Along, released throughout the 1970s and 1980s. With such a reputation, his final work, Here We Are, based on two surrealist films by Luis Buñuel, has high expectations.

Due to his death, Here We Are has been left, some argue, as incomplete, only being brought to the stage due to feelings of obligation to celebrate his final musical and, therefore, career

The Off-Broadway production of Here We Are received somewhat mixed reviews and sparked some controversy. While the soundtrack is undoubtedly Sondheimian, the whole second Act of the show is void of songs, leaving some to claim it feels unfinished and more like a Buñuel play accompanied by some music by Sondheim. Other critics link the musical’s mixed reception as part of a wider pattern in Sondheim’s work, suggesting that, since a peak in production in the 1970’s and 1980’s, his newer musical’s lowered in both quality and popularity.

Sondheim was known for adding to or substantially editing his musical’s scores at the last minute, many of these edits leading to the addition of some trademark songs. However, due to his death, Here We Are has been left, some argue, as incomplete, only being brought to the stage due to feelings of obligation to celebrate his final musical and, therefore, career. I worry that descriptions of the musical do not discuss these elements, which may lead to a similar reception here as in the US: disappointment caused by people entering with high expectations that Sondheim will go out with a bang, only to receive a surrealist, largely non-musical play.

Hopefully the confusion surrounding both of these productions will be cleared up when official performances begin, and we can see for ourselves their interpretations and how they are received by critics and the public alike

Hopefully the confusion surrounding both of these productions will be cleared up when official performances begin, and we can see for ourselves their interpretations and how they are received by critics and the public alike. Great Comet begins performances on 16 December 2024, and Here We Are on 23 April 2025.