(Review by Homepage Webmaster)

Natasha, Pierre & The Great Comet of 1812 is a musical based on approximately 70 pages from Volume II, Part 5 of Leo Tolstoy’s War and Peace. The storyline is condensed and rearranged in parts, deviating from the novel’s broader context. One of the main characters, Andrei, is almost absent from the stage adaptation, narrowing the plot's focus to the personal crises of Natasha and Pierre. Pierre’s struggles appear to stem from his failed marriage, but ultimately reflect his broader existential doubts and search for meaning. Natasha’s own crisis arises from her naivety in choosing the wrong man. All main characters face their own personal challenges, aligning with Tolstoy's philosophy that ordinary people, rather than heroic figures, shape history.

In Dave Malloy's original interpretation, Pierre is portrayed as withdrawn, bewildered, and weighed down - a portrayal he himself emphasized when originating the role. Josh Groban’s version brought more interaction with the club and party atmosphere, though the somber core remained. In contrast, the Pierre of Tolstoy’s novel - and of the 2016 BBC adaptation starring Paul Dano - often smiles, laughs, and finds joy in companionship, even amid his awkwardness and inner doubt. This lighter, more human interpretation aligns closely with Julian Kim’s take on the character.

Kim’s Pierre brought a youthful warmth and emotional openness that contrasted with many previous portrayals. His Pierre smiled during quiet moments of connection and appeared genuinely happy when surrounded by friends, even during the Balaga scene - before he fully realized that it was Natasha with whom Anatole was fleeing. The affection he showed for Anatole and his willingness to participate in social life added poignancy to his descent into self-loathing after the duel with Dolokhov. This arc gave audiences a fuller picture of Pierre's emotional journey - from hopeful vulnerability to despair and finally to peace.

Vocally, Kim stepped away from his traditional operatic style to meet the demands of Malloy’s genre-blending score. The music frequently shifts between sung narrative and moments of lyricism, often with simple melodic lines and subtle note inflections that resemble operatic recitatives. These speech-like, explanatory musical passages provided a space where Kim’s precision, diction, and phrasing could shine. His natural sense of pacing brought clarity to the text, imbuing even modest melodic moments with emotional weight.

Of the more expressive musical moments, “Dust and Ashes” stood out for its emotional volatility. In “Dust and Ashes,” Julian showcased a wide emotional range, sometimes leaning into sorrowful introspection and at other times expressing self-directed anger. His interpretations varied from night to night, beginning either with a soft, reflective tone or a bold, percussive piano entry paired with an intense vocal attack. Throughout the piece, he demonstrated impressive control of dynamics, skillfully navigating between force and tenderness. At the line “All of my life has been searching the words,” he often infused a sudden surge of energy and urgency, making it a striking emotional peak. The final phrase, “to wake up,” consistently resonated with clarity and strength, leaving a powerful impression.

In “Duel,” his vocal shift toward a rock-infused tone often stood out, especially at the high note B4 in “So I shall be killed,” which he sometimes attacked with raw, piercing intensity - like a torn cry - and other times delivered with a cleaner, full-voiced resonance, mixing baritone depth with vocal versatility. In “A Call to Pierre,” a number shaped like a narrative monologue, Julian’s delivery was vivid and direct. The three “What! What! What!” exclamations were delivered in precise pitch with a heavy, full sound. The line “For Anatole is a married man!” came across with biting clarity, signaling a key emotional turning point as Pierre took action against Anatole.

In the show’s final number, “The Great Comet of 1812,” Kim’s voice revealed its full expressive range. He began gently but firmly, grounding the opening lines with a solid, warm and heavy baritone at the lyric “Not to pay calls.” As the music built toward its emotional climax, he delivered a rich, expansive tone that then softened into a reflective close. His lower register, always a strength, was especially resonant here. At the lines “Feels my softened and uplifted soul, and my newly melted heart, now blossoming,” he sang with full, warm tone before softening suddenly and smiling gently at “Into a new life,” closing the show with quiet transcendence.

Playing the piano was essential for all Pierres, who remained seated in the center of the sunken stage throughout much of the show. Julian was a confident player, able to look around and even share a small dance with the music director during the Balaga scene. He also practiced accordion for six months to prepare for the role. Though the instrument initially caused back pain due to its weight, he later adapted his posture and came to enjoy playing it—adding authenticity and immersive depth to his performance.

Julian Kim brought a deeply human and emotionally detailed interpretation of Pierre to the stage - one marked by sincerity, vulnerability, and musical intelligence. His Pierre was not just a man lost in thought, but someone who truly longed for connection, making his moments of sorrow and redemption all the more powerful. His portrayal stood apart for its warmth and light - rooted not in contrast to the text, but in harmony with the novel’s original spirit.