Fallout from the crash and burn of “Natasha, Pierre & the Great Comet of 1812” continues to rain down on Broadway.

A group of disgruntled investors in the $14 million production — which closed Sept. 3 after a racial controversy — has requested an audit.

Sources say the investors can’t understand how a show that regularly grossed more than $1 million a week for a year returned only about 15 percent of its investment.

In an email to investors, the contents of which were disclosed to The Post, lead producer Howard Kagan stressed that “Comet” is likely to have a national tour as well as productions in London and Asia. But he cautioned that “negative press” might cast a pall over the show, alienating potential partners.

“We have a lot of investors in the show and we have endeavored to answer all of their questions,” Kagan told The Post on Thursday. “I am happy to make our books available to any investor. There is no reason to believe they are going to find anything other than what’s already in our financial statements — or what they could have found out just by talking to us, which is the normal course of business. There is absolutely nothing weird or unusual here.”

Kagan says he’s cooperating with the audit, but adds: “I think it’s an unproductive use of time and money. Most of our investors feel they’ve gotten whatever information they need.”

Based on a short section of Tolstoy’s “War and Peace,” “Great Comet” opened to terrific reviews last fall. It was nominated for 12 Tony Awards and, by all appearances, seemed to be settling in for a long run.

‘Maybe they made some bad decisions along the way, but there’s nothing illegal about screwing a show up.’ - a veteran producer

But the production, which won just two of those Tonys (for scenic and lighting design), fell apart over the summer. Josh Groban, who was largely responsible for pushing the weekly grosses past $1 million, left the show in July, when Okieriete “Oak” Onaodowan replaced him as Pierre. Despite much fanfare — Onaodowan was an original cast member of “Hamilton” — he wasn’t selling many tickets.

Kagan lined up Broadway veteran Mandy Patinkin to step in, triggering outrage on social media that a white actor was replacing a black one. Patinkin withdrew, and Kagan was unable to line up another star to save the show.

Kagan’s producing partner, Paula Marie Black, has also withdrawn from the show. She had made the largest investment in “Comet,” but sources say she won’t be involved in future productions.

“Paula was distressed by the toxicity and negative press surrounding the show,” says a source. “She’s not used to all that.”

Black didn’t return an email seeking comment.

Broadway producers not involved with “Comet” doubt the disgruntled investors will be able to do much with the audit. They point out that the lead producers are well-protected from lawsuits if a show flops.

“Maybe they made some bad decisions along the way, but there’s nothing illegal about screwing a show up,” says a veteran producer. “It happens all the time in this business.”

Barring further ugliness among investors, “Comet” is likely to kick off a national tour next year in San Francisco. It’s also scheduled to open in the West End in 2019.

“The show’s an ongoing business, and we believe it can succeed in the long run,” Kagan says.

Michael Moore, who’s been on Broadway a mere seven weeks with “The Terms of My Surrender,” is already hanging in Sardi’s alongside Mary Martin, Angela Lansbury and Nathan Lane.

“I feel like the rookie of the year,” says Moore of his Sardi’s caricature. “It’s been a thrill to be on Broadway and I ain’t going anywhere.”

Moore is, in fact, at work on a play, which he hopes to bring to Broadway next season. Look for Michael Mayer, who staged “Surrender,” to direct it.