Natasha, Pierre & The Great Comet of 1812 - Donmar Warehouse

Maybe at the National Theatre a la Here Lies Love. But it's too artsy and concept for West End. I'm seeing it in a few weeks.

Any news on this coming to the UK?

Bloody hell, looking back at that tweet, Dave is having a great year. Moby is happening at the ART having just done excerpts in NYC, Octet has happened and also raised enough funds for a cast recording, and Preludes and Ghost Quartet have been announced for London. Doesn't look like we'll be getting Great Comet any time soon but wow, what a year! 

The Great Comet is absolutely my favourite musical, by a mile. I saw it 8 times on Broadway. It's a magical experience and I hope we get it eventually.

I too would love to see it at The National. The Oliver would be perfect fit with a bit of shuffling. Other than that a tent somewhere would suffice.

Just bring it!

I enjoyed it on Broadway but mainly because I like Josh Groban, it has a couple of beautiful songs and the lighting design is stunning especially towards the end. I fould some of it quite boring though.

I LOVE it, but it is a difficult work of genius, I still listen to it practically every day in some form 2 and a half years later.

To remain a kooky, brilliant little oddity playing off-wherever that one either loves or loathes, the show is already perfection.

For it to ever be completely fit for 'mass consumption' however, it needs some work.

If it were to ever be mounted in London on any sort of major 'money making' scale, it needs some snips and a narrator added to the mix.

Nothing major, just someone to come in and make clear what the audience have just seen and guide them between scenes.

With no set or dialogue it is just not palatable for the average theatre goer to rely on the lyrics to guide them through the story, even though it is a very simple one.

Most people can accept weird as long as they can tell wtf is going on and a lot of people (myself included on first viewing) had no idea what was happening most of the time.

A narrator would help up until the final section which plays fine in it's current form and maybe a sum up at the end of Pierre's final number because the power of the final scene is somewhat lost if you haven't been following.

Natasha's story is simple, it is basically Dangerous Liaisons/Cruel Intentions with a fiancé thrown in. Pierre's is a little more difficult because his role is slight and his path not as clear, even though his is the more emotionally powerful journey of the two.
.
As much as I loved the Broadway staging and feel so lucky to have seen done in such a fantastic way, it definitely added to the confusion of the piece. All the bell and whistles took you out of a story where every lyrics being understood is needed to fully appreciate the show.

I actually think Josh (although he was fantastic and he was made for the role) was a MAJOR hindrance to the Broadway production. For a good slab of the audience it became all about him and took attention away from the show itself, especially with him sat in the pit in full view for the entire performance. I imagine as a fan they just sat there all night waiting for him to reappear, which would've constantly taken them out the story. He also totally brought in the wrong audience. The production itself is pitched at the young and hip Hamilton crowd, who are far more likely to dig into the material once they've left the theatre and then return with a fuller appreciation of what they're watching. Most of them would've never even heard of Groban or avoided it at the mere thought of enduring him. Instead he brought in the oldies who for the most part seemed to have a very difficult time following/appreciating the material and its presentation and being pissed at the lack of Groban.

I agree totally, for me it is already perfection and in the end I 'got it' on first viewing and I hear you on the rest.

I was totally lost (apart from the obvious) at the end of 1st Act, and I did sit there at intermission thinking 'ok this is possibly the greatest thing I have ever seen, but I really couldn't tell you what is going on' and flicking through the programme. Of course all is revealed in the 2nd act, but it was confusing, especially with the constant distractions of the immersive aspect of the Broadway production. I also think Balaga throws out the 2nd act a little, especially after the already confusing Abduction.

I didn't really appreciate it fully until after diving into the score and then returning to see it again (many times) once I knew the material better.

I'd actually love to see it open at the Young Vic. 

I don't think anyone would dare open it directly in the West End first even with a big name.

It'd need a lot of good word of mouth before a successful pre-sales West End run would happen and I don't believe the general West End crowd would give it very good word of mouth straight off the bat, it's too out there.

As said, seeing new comments in this thread make me think there’s been a new announcement. Sigh.

Just to build upon what others have said, I think it’d suit the National perfectly. Hadestown was something that many hadn’t heard about (and still haven’t today, despite its Broadway success). However, with it completing a sold out run, I think it’s definitely achievable with the Comet. If the audience is findable for Hadestown, I think it’s definitely doable here.
It would be nice to see such a work of art in London. However, unfortunately, it isn’t often that we’re privelaged enough to see such a crafted piece upon the stage. Will just keep hoping.

Apparently Malloy had meetings with the National last year when he was over to see Hadestown, so here's hoping.

During the Prologue there is so much going on around you you rarely even looking at whats going on on the main stage. Not to mention depending on where you are sitting there are dancers dancing on a stage in front of you blocking it, or a violinist in your ear and all you can hear is the violin, it's all a bit full on. Any of the big production numbers are like that. Not that I'm complaining as it's amazing, but it does take you out of the narrative of the show at some important points.