Chavkin-directed GATSBY musical from Welch and Majok to premiere in 2024- Page 12

[hearthemsing22]

Posted: 7/10/24 at 1:46pm

Jarethan said: "I saw this show last night. Fifth row center orchestra for $94 (although I am a donor, so that may be a factor in the price).

It was really a great production. I don't know where to start, but on reflection, I think the book is the right place. It ISThe Great Gatsby brought to life on stage. The minor changes that were made to me represented an improvement on the book, e.g.,increasing the size of Myrtle's role to make her more sympathetic, not making Daisy so vapid, giving a little more background on Gatsby. My first reaction to the final scene was 'aw c'mon', but I bought it by the end of the scene...further illustration of why Gatsby felt like such an outsider. I already think this isone of the best books in a musical ever.

Then there is Chavkin's direction and the visual look of the show. In a word. spectacular. I would say it exceeds anything of hers I have seen before, e.g., Hadestown, Great Comet, Indecent, which -- despite not a long list -- is a very impressive list.I don't know who came up with the concept for the sets and costumes (I assume it was Chavkin, but maybe not), but they were absolutely perfect, splendor sharing the stage with decay.. All the splendor was mired in dirt and decay. Visually stunning to look at and right on the mark.

The performances were excellent across the board. I agree that Solea Pfeiffer was outstanding in what was arguably the best role in the show. That said, I thought that Isaac Powell was absolute perfection. We waited quite a while for him to appear and he didn't disappoint once he did. One felt genuine sadness for his character every step of the way...his longing was palpable. While everyone was excellent, I would also single out the actor who played Myrtle's husband. Really excellent, with a beautiful voice. I lost the little program (currently on crutches), so I do not remember his name, but he really shined in a modest role. But, as I think of it, the actors who played Nick, Daisy and Jordan were also perfect.

Finally, the score. I have to say that on a number of occasions I have failed to appreciate a score on first hearing. This is true of both ALNM and SITHWG, both among Sondheim's top tier of scores (of course, the top tier is quite large). I felt that the music workedfor the show, but I will need to listen to the eventual cast recording a few times to truly form an opinion of the overall score as well as individual components. (The first time I saw the two Sondheim musicals I referenced, I really didn't like the shows or appreciate the music; once I became familiar with the music, I loved the shows). I imagine that will be the case here.

As would be expected, the show is very dark. I am not sure that this will ever fall into the monster hit category because of that darkness. I also think this would fare better in a modestly sized theatre, e.g., the Broadhurst rather than, say, the Lunt Fontanne, and please God not something like the Broadway. I also suspect that, other than the type of people on this board, it will not be subject to repeat visits.

Given that the other Gatsby, which I have not seen, is doing better than expected on Broadway, it probably would make sense to premiere this in London, to distance it from the other one. If it proves to be the critical success that I would expect it to be, it would have the advantage of eventually coming into NY with a London success under its belt and distance from the current version, which I still don't imagine will run that long.

Just a great night in the theatre!"

I never even considered this but that's an excellent thought to have this in London while the current Gatsby production is on Broadway, then maybe have it come over whenever that one closes. Great thought 

[jakethesnake]

Posted: 7/10/24 at 5:52pm

Jarethan said: "I saw this show last night. Fifth row center orchestra for $94 (although I am a donor, so that may be a factor in the price).

It was really a great production. I don't know where to start, but on reflection, I think the book is the right place. It ISThe Great Gatsby brought to life on stage. The minor changes that were made to me represented an improvement on the book, e.g.,increasing the size of Myrtle's role to make her more sympathetic, not making Daisy so vapid, giving a little more background on Gatsby. My first reaction to the final scene was 'aw c'mon', but I bought it by the end of the scene...further illustration of why Gatsby felt like such an outsider. I already think this isone of the best books in a musical ever.

Then there is Chavkin's direction and the visual look of the show. In a word. spectacular. I would say it exceeds anything of hers I have seen before, e.g., Hadestown, Great Comet, Indecent, which -- despite not a long list -- is a very impressive list.I don't know who came up with the concept for the sets and costumes (I assume it was Chavkin, but maybe not), but they were absolutely perfect, splendor sharing the stage with decay.. All the splendor was mired in dirt and decay. Visually stunning to look at and right on the mark.

The performances were excellent across the board. I agree that Solea Pfeiffer was outstanding in what was arguably the best role in the show. That said, I thought that Isaac Powell was absolute perfection. We waited quite a while for him to appear and he didn't disappoint once he did. One felt genuine sadness for his character every step of the way...his longing was palpable. While everyone was excellent, I would also single out the actor who played Myrtle's husband. Really excellent, with a beautiful voice. I lost the little program (currently on crutches), so I do not remember his name, but he really shined in a modest role. But, as I think of it, the actors who played Nick, Daisy and Jordan were also perfect.

Finally, the score. I have to say that on a number of occasions I have failed to appreciate a score on first hearing. This is true of both ALNM and SITHWG, both among Sondheim's top tier of scores (of course, the top tier is quite large). I felt that the music workedfor the show, but I will need to listen to the eventual cast recording a few times to truly form an opinion of the overall score as well as individual components. (The first time I saw the two Sondheim musicals I referenced, I really didn't like the shows or appreciate the music; once I became familiar with the music, I loved the shows). I imagine that will be the case here.

As would be expected, the show is very dark. I am not sure that this will ever fall into the monster hit category because of that darkness. I also think this would fare better in a modestly sized theatre, e.g., the Broadhurst rather than, say, the Lunt Fontanne, and please God not something like the Broadway. I also suspect that, other than the type of people on this board, it will not be subject to repeat visits.

Given that the other Gatsby, which I have not seen, is doing better than expected on Broadway, it probably would make sense to premiere this in London, to distance it from the other one. If it proves to be the critical success that I would expect it to be, it would have the advantage of eventually coming into NY with a London success under its belt and distance from the current version, which I still don't imagine will run that long.

Just a great night in the theatre!"

Thank you for the very well thought out review.  Just one amendment - Rachel Chavkin did not direct Indecent.  That was Rebecca Taichman.  But I do agree, that was a visually stunning show too! 

[HenryTDobson]

Posted: 7/11/24 at 11:28am

"I never even considered this but that's an excellent thought to have this in London while the current Gatsby production is on Broadway, then maybe have it come over whenever that one closes. Great thought"

Excuse me if this is a dumb question, but is The Great Gatsby as significant in London as it is in the US? I know it's an important part of American literature, I didn't know if it was as revered across the pond. Regardless, I agree it's a good idea to bring this over there while the other Gatsby wraps up on Broadway.

[Mark_E]

Posted: 7/18/24 at 5:26pm

"Excuse me if this is a dumb question, but is The Great Gatsby as significant in London as it is in the US? "

No, it is not. I think most people only really know of it from the 2013 film adaptation. 

I caught this yesterday. Refreshed the website at around 12:20 and there was some $85 tix available for the matinee, never bought a ticket so quickly (was in Boston for one day only). Really enjoyed it, definitely darker than the Broadway Gatsby. Thought act two in particular was brilliant and loved how they portrayed Myrtle in this production.

[BroadwayNYC2]

Posted: 7/18/24 at 6:16pm

“I think most people only really know of it from the 2013 film adaptation.”

 

That is just not true whatsoever, come on now. It’s an American novel about American things, sure, it isn’t as popular but isn’t an unknown entity in London. It’s still an incredibly well known novel. Insane comment. 

[Sutton Ross]

Posted: 7/18/24 at 6:22pm

I think most people only really know of it from the 2013 film adaptation. 



 

[Mark_E]

Posted: 7/18/24 at 6:30pm

Sorry but are you wanting the opinion of someone who actually lives in the UK or not? It is NOT studied in schools here, and it is certainly not one of those books that everybody has read. My only exposure to "The Great Gatsby" before seeing the Broadway production in April was the 2013 film. I since read the book after seeing that production (same with Outsiders, which I had never even heard of until the musical was announced). Mention "Great Gatsby" here, more people will have seen that film version than have read the book.

[BroadwayNYC2]

Posted: 7/18/24 at 6:36pm

Me chiming in as somebody who lived in the UK for 20 years (and born there!). So no, I’m actually ok. 

[Broadway Flash]

Posted: 7/18/24 at 7:11pm

I know people on this board like to poop on The Great Gatsby on Broadway, but it is not “wrapping up.”  In fact, it is just getting started and will be around for a few years.  You need to look at it as the new Moulin Rogue and not project your hate onto it.  It’s sticking around, like it or not.  The other Gatsby can do whatever they want. 

[Synecdoche2]

Posted: 7/18/24 at 7:13pm

I think it's more of a generational thing. Most young people don't read any books at all, especially not classic novels. And if you're in the UK, you probably won't have it assigned in you in school, so you wouldn't be familiar with the book.

Regarding the 2013 film, I think both musicals owe Baz Luhrmann a royalty check for inspiring their design and marketing. Updated On: 7/18/24 at 07:13 PM

[MadAboutTheBoy]

Posted: 7/19/24 at 12:36pm

I'd love to hear some of the music from this. Has anything been released or teased yet? 

[barcelona20]

Posted: 7/19/24 at 1:15pm

MadAboutTheBoy said: "I'd love to hear some of the music from this. Has anything been released or teased yet?"

No, they are being very secretive. And everyone who attends must put their phone in Yonder pouches.

I was able to catch it for the second time recently and glad I went again. Score is fairly strong, but still have issues with a lot of the lyrics. I'm not great at catching changes, but enjoyed the show much more the second time. Show still runs too long though. Solea is the star, but the entire cast was excellent. 

[Jarethan]

Posted: 7/19/24 at 1:54pm

Synecdoche2 said: "I think it's more of a generational thing. Most young people don't read any books at all, especially not classic novels. And if you're in the UK, you probably won't have it assigned in you in school, so you wouldn't be familiar with the book.

Regarding the 2013 film, I think both musicals owe Baz Luhrmann a royalty check for inspiring their design and marketing."

What are you thinking of when you refer to Gatsby.  I don’t see it; I can see the Great Gatsby connection just from the ads.  Of course, one could argue it is art deco, and both movie and musical were going for it.

[TaffyDavenport]

Posted: 7/19/24 at 2:21pm

Nothing about A.R.T's Gatsby, from the production itself to the marketing graphics, resembles the Baz Luhrmann film. The "G" logo is the only possible thing I could think of, but even that would be a big stretch. Everything about the Broadway show, however, looks heavily inspired by Catherine Martin's designs.

Updated On: 7/19/24 at 02:21 PM

[dramamama611]

Posted: 7/19/24 at 8:02pm

I'm sorry, Baz has dips on art deco and the stylings of the time period? 

[BroadwayNYC2]

Posted: 7/20/24 at 5:33pm

Like seriously…what is specific to that movie. Supposed Broadway fans continue to be absolutely delusional. 

[MrsSallyAdams]

Posted: 7/20/24 at 5:46pm

Still processing this show. A screaming lament for the fall of America. There’s not a shred of subtext left. Daisy and Myrtle are happy to tell you exactly how they represent mirror images of the American Dream. There were powerful scenes, the cast is swell and the finale is a gut punch. But there’s also a sameness to the many wailing power ballads.

I was hoping Nick and Jordan being overtly queer would allow them to shed some new perspective on the central romance. But once they serve their plot functions this adaptation pushes them aside. 

It makes an interesting pairing with The Queen of Versailles, currently playing nearby. That one is also about the American Dream but the wealthy protagonist has no self awareness whatsoever. 

[Broadway Flash]

Posted: 7/20/24 at 5:54pm

We don’t need anymore musicals about the death of the American dream. We already have that with the outsiders and I bet Tammy Faye will be similar to Queen of Versailles. We need more patriotic musicals like SUFFS and BACK TO THE FUTURE 

[Jordan Catalano]

Posted: 7/20/24 at 5:57pm

Oh man, did I love this today. This is so far superior to what's on Broadway right now, in almost every way, I felt. I adored this score and the only thing I can remember from what's on Broadway right now is Jeremy singing "Daaaaaaaisy" over and over again. But this is something I could listen to over and over again. I've said many times that I find Solea to be one of the most exciting actors in musical theater right now and she doesn't disappoint here. In fact, I enjoyed everyone and I suppose I liked Powell more than others here seem to have. Or maybe he's just grown in the role but I thought he was great.

The staging is distinctly Chavkin and I mean that in the best way possible - she's forgiven for "Lempicka" lol. But this was such a treat and this is the "Gatsby" that should be remembered as far as musicals, go. 

[ColorTheHours048]

Posted: 7/20/24 at 6:00pm

Broadway Flash said: "We need more patriotic musicals like SUFFS and BACK TO THE FUTURE"

🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣

[Sutton Ross]

Posted: 7/22/24 at 12:55pm

I hope they keep workshopping this and possible doing it in more cities around America or the UK. A couple of things:

Isaac looks too young in the part and it just doesn't work. He doesn't have the THING that Jay needs. I've enjoyed his previous work so it's not a knock on his ability, he's just miscast. 

The lighting, sound and overall look looks incredible and they shouldn't change a thing. 

Solea is a star and I knew it when she opened her mouth at the Old Globe half a decade ago. She is the standout in every capacity. Get her to Broadway again STAT. 

The music is gorgeous, thrilling, deep, and exciting. But, duh, Florence. 

The queer storyline goes nowhere and falls completely flat. Cut it or explore it more. 

There can't really be two Gatsby's on Broadway and the current one is shiny and looks expensive, so that won't be going anywhere. This could land there in a few years but it's nowhere near ready. Just a few thoughts. 

Updated On: 7/22/24 at 12:55 PM

[Theatrefan2]

Posted: 7/22/24 at 1:36pm

Mark_E said: "Sorry but are you wanting the opinion of someone who actually lives in the UK or not? It is NOT studied in schools here, and it is certainly not one of thosebooks that everybody has read.My only exposure to "The Great Gatsby"before seeing the Broadway production in April was the 2013 film. I since read the book after seeing that production (same with Outsiders, which I had never even heard of until the musical was announced). Mention "Great Gatsby" here, more people will have seen that film version than have read the book."

Marks completely right. 

Unless you are interested in literature, most people will have only vaguely heard of the novel and associate it with the roaring 1920s art deco style, and the movie adaptions.

It certainly isn't a big deal or part of our culture in any meaningful way 

[Broadway Flash]

Posted: 7/22/24 at 6:25pm

The masses like the great Gatsby because of the roaring 20s vibes and the party.  Nobody gives a $hit about the actual themes of the story except for American literature scholars. 

[AKarp2013]

Posted: 7/22/24 at 6:51pm

That's enough Flash for one day, thank you.

[Owen22]

Posted: 7/22/24 at 7:20pm

Broadway Flash said: "I know people on this board like to poop on The Great Gatsby on Broadway, but it is not “wrapping up.” In fact, it is just getting started and will be around for a few years. You need to look at it as the new Moulin Rogue and not project your hate onto it. It’s sticking around, like it or not. The other Gatsby can do whatever they want."

Indeed!  And now that a SECOND song (and dance) has taken over Tik Tok ("New Money") the Broadway Gatsby will only get stronger.