Meet two Suzi Bass nominees from ‘Natasha, Pierre and the Great Comet of 1812’ 

The Suzi Bass Awards drum up excitement in the Atlanta professional theater community every fall, with nominees waiting for November’s big reveal to find out how they fared. This year, Horizon Theatre’s hit musical, Natasha, Pierre and the Great Comet of 1812, was the most nominated production for the 2024 Suzi Bass Awards, earning 15 nominations in August. 

ArtsATL spoke with Director and Co-choreographer Heidi McKerley and cast member Alexandria Joy ahead of the awards ceremony on November 11. In addition to Great Comet’s nomination for Outstanding Production of a Musical, Joy was nominated for Principal Performer and McKerley was nominated (along with partner Jeff McKerley) for Choreographer. 

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ArtsATL: What was your role in Natasha, Pierre and the Great Comet of 1812?

Heidi McKerley: Director and co-choreographer.

Alexandria Joy: Natasha. 

ArtsATL: How did you get approached for the role?

McKerley: I have worked at Horizon Theatre for 28 years on more than 30 productions. I am also an artistic associate. Fun fact — I have directed all the musicals at Horizon.

Joy: I reached out to Heidi and asked to audition. I told her it was a dream role of mine. 

ArtsATL: Did you have lofty expectations for this production from the beginning? 

McKerley: My mission is always to tell great stories and change people’s lives, no matter the show. That’s why I do theater. So, yes, that lofty hope/goal is always a part of my work. I had seen [Great Comet] on Broadway and was excited to bring it back to its more intimate beginnings in our staging at Horizon. Artists love to play with the ideas of opposites — and this musical is full of them, especially since it’s based on a section of War and Peace. 

I also love the idea that it’s never too late for forgiveness and re-invention or to wake up if you are sleepwalking through life. Pierre is in an existential crisis, and, if you tell the emotional and physical truth of an existential crisis, it will move people. The show is full of beautiful, soul-stirring themes and ideas. 

Joy: I knew the show was going to be special because I love immersive theater. There’s nothing like getting a chance to tell stories and make the audience feel like they’re in the world with you. Never in my wildest dreams did I expect to remount the show a third time [due to] popular demand! 

ArtsATL: What was a memorable moment for you during the run?

McKerley: The growing word of mouth about the show was a great moment. When a show starts becoming a hot ticket, it’s very fulfilling. We can’t make theater without an audience, and the fact that we will be coming back for a third [staging] at the beginning of 2025 is thrilling. Great Comet was extremely interactive. There were countless interactions with the audience, which were a great deal of fun for the performers — we were in your world, and you were in ours.  I always say that, with theater, we have to give people what they can’t get on any screen they own. 

Joy: It’s hard to pinpoint one specific memory from this production because it holds such a powerful place in my heart. I think the opening of Act II, “Letters,” is my favorite moment in the show. We really get to involve the audience in the story, and . . . it’s different every night, so the moment is always special and memorable.

ArtsATL: How did you feel when Suzi nominations were revealed?

McKerley: Elated! Thrilled! Emotional! So happy for everyone on our artistic team and in the company. To have so many of our artists recognized for their incredible work was a euphoric feeling. 

Joy: I was so excited! Plus, my husband, Terrence J. Smith, received one for his performance as Dolokhov. Needless to say, we’re both thrilled.

ArtsATL: Have you ever received a Suzi award, either individually or as part of a winning production?

McKerley: I have won one Suzi Bass Award for Best Director of a Musical in 2009 for Avenue Q. I’ve also been fortunate to be nominated 18 times as a director and choreographer and have nine shows I directed nominated for Best Play or Musical and six ensembles of shows I directed nominated for Best Ensemble. 

Building great ensembles is one of my favorite parts of directing, and I’m over the moon when any company I’ve worked with gets nominated and wins Best Ensemble. That happened last year for The Play That Goes Wrong, which meant a lot to me. The ensemble of Designing Women – 2020: The Big Split was also nominated last year. 

Joy: I was nominated in 2022 for the role of Veronica Sawyer in Actors Express’ production of Heathers. I’ve never won before or been a part of a production that has won. But it’s an honor to be nominated.