A musical adaptation of the most well-known novel of one of Minneosta's favorite sons, F. Scott Fitzgerald, opened on Broadway two years ago and is still playing. The touring production of
The Great Gatsby has landed in Fitzgerald's birthplace for one week only. Did this critically acclaimed classic novel need to be adapted into a musical? Probably not. Is this format, what is essentially a musical comedy for the first three-quarters of the show, the best way to tell this American tragedy, a brutal look at capitalism, classism, materialism, and the failure of the American dream? Definitely not. It doesn't really capture the essence of the novel (which just makes me want to read it again), but it is a gorgeous depiction of the roaring '20s in all its glitz and glamour, and it does use some of Fitzgerald's lyrical text. I actually found the brutal ending to be the best part of the show, after all of the deaths that are quite startling after the comedy tone of the majority of the show, when Nick states one of the most famous closing lines in all of literature: "So we beat on, boats against the current, borne back ceaselessly into the past." And we see those glitzy party goers, their words and movements now dark and hollow. We finally get the essence, the heart of the story, but it's too little, too late. Still, I enjoyed the show and I think it's worth seeing, if only for the stunning design, gorgeous costumes, fabulous dancing (
continuing through June 7 - click here for the official ticketing site, including information about student, educator, and industry rush tickets).
I've told you about the weaknesses of the musical (the Tony voters agreed with me; the only Tony it was nominated for, and deservedly won, was for costume design), but here are some things I loved:
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| Joshua Grosso as Nick (photo by Evan Zimmerman for MurphyMade) |
The show may be named after Jay Gatsby, but my favorite character and really the heart of this version of the story is Nick, the writer from St. Paul, played by the effortlessly charming Joshua Grosso with an effortlessly gorgeous voice. He opens and closes the show with narration, and functions as a mediary into this foreign world of endless parties and illegal booze.- Other highlights in the cast include Jake David Smith as the title character, making the most of the role that's written a little too comedically, and employing a lovely falsetto; Senzel Ahmady as the lovely Daisy, wringing every last drop of emotion out of her songs; and Leanne Robinson as Daisy's friend Jordan, a modern woman (you can tell because she wears pants!).
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Gatsby (Jake David Smith) gazing across the bay
(photo by Evan Zimmerman for MurphyMade) |
The set design is a successful mix of video projections and practical set pieces, to the point that it's sometimes hard to tell one from the other. The moody water of the bay, a glitzy nightclub, a grand mansion or humble cottage, even Gatsby's closet full of shirts are represented by videos on the back wall of the space. Multiple sliding panels at various depths on the stage display gorgeous art deco design, or other images or videos that depict the different locations. An apartment or hotel room in the city has real windows or doors in a wall of a projected image, making it more lifelike, like a three-dimensional movie (scenic and projection design by Paul Tate DePoo III, lighting design by Cory Pattak).- I really enjoyed the score (music and lyrics by Jason Howland and Nathan Tysen, respectively, whose score for the 2022 historical musical Paradise Score was nominated for a Tony). Lovely ballads, rousing party songs, and everything in between, with a bit of a period feel. And I love the use of a full and lush 12-piece pit orchestra, including eight local musicians, which sounds just fantastic under conductor Charlie Alterman.
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| the '20s are "Roaring On" (photo by Evan Zimmerman for MurphyMade) |
The dancing is just smashing, some familiar dances of the period but with a modern flair. And this
gorgeous and talented ensemble, most of them playing many roles, brings them to life with energy and grace (choreography by Dominique Kelley). - The '20s era costumes are simply divine. Beautifully tailored suits for the men, chic flapper dresses for the women, some in cool tones, some an explosion of color, from more casual day wear to fancy party dress. And Jordan looks super chic in pants (costume design by Linda Cho).
- Use this as an excuse to dress up in your best '20s attire. I had bought a few headbands back when Lady Mary cut her hair, and I finally had an excuse to wear one!
This is a musical in technicolor, adapted from a novel that's sepia toned. It fools you into thinking it's a typical upbeat musical with a little drama along the way, but with a happily ever after. If you're not familiar with the novel, you're in for quite a shock. Where a musical like
Cabaret is brilliant in the way that there's a slowly building undercurrent of darkness beneath the party, a growing feeling that something isn't right here,
The Great Gatsby is all party, until the bottom drops out abruptly with no warning. It's not the story we know and love, but it is something to see!
