THE GREAT GATSBY Broadway Previews — Page 4

Kurtal, tonally, this musical of Gatbsy is to the original novel what PHANTOM, WICKED and LES MIZ are to theirs. Ironically, what you are describing - an oppulant hollow stage version of the story in the guise of a standard ("vacant'" romantic musical is actually pretty meta for what Fitzgerald is painting relative to the world in his novel.

Updated On: 4/11/24 at 09:15 AM

This team knows exactly what they are doing relative to the book. They have a clear vision for it. The original book would not make for a commerical, appealing stage musical for broad audiences on Broadway. I suspect the version of Gatbsy at ART will be more faithful to the book and probably most mainstream audiences won't like it much.

Updated On: 4/11/24 at 09:52 AM

Broadway Flash said: "I think the key word here is “adaptation.” They went in the direction of romantic musical theatre. Future musicals of the novel will do something else. I think the book writer actually said she didn’t care for the novel to begin with. But it’s always tricky when people come in wanting it to be loyal to the source material."

Yes, but I would argue that, in the book at least, Gatsby and Daisy aren't a romance. It's a one-sided obsession that is built on a delusional fantasy of Daisy's willingness to leave her station. And that could have been an interesting way to take the show...but that's not what the musical did. It makes it seem like Daisy truly loves Gatsby, so when she decides to stay with Tom at the end, that decision seems to come out of nowhere. And her final song about her daughter, which tries to wedge in a pseudo-feminist take on her decision, doesn't feel grounded in anything we have learned about Daisy in the show leading up to that point. So whatever the creative team's vision is, it didn't feel cohesive to me.

Does the show allow for a GBQ reading of Nick? The films all cut Nick's ambiguous hook up with Mr. McKee but some lean into the idea that he's more infatuated with Gatsby than with Jordan Baker.

Updated On: 4/13/24 at 10:48 PM

I can't recall from when I saw this at Paper Mill, so can anyone confirm if Jeremy Jordan was using that OTT mid-Atlantic accent in that production as well? I don't remember being so struck by it at Paper Mill, but I found it pretty jarring when I revisited on Broadway. Perhaps it's a deliberate choice to again show how Gatsby doesn't truly belong and he's doing whatever he can to put on airs, but it felt more like one actor choosing to do an accent when no one else did, ultimately coming across a bit silly and out of place. And this is coming from someone who loves Jeremy's work.

Dirty Rotten Scoundrel said: "I can't recall from when I saw this at Paper Mill, so can anyone confirm if Jeremy Jordan was using that OTT mid-Atlantic accent in that production as well? I don't remember being so struck by it atPaper Mill, but I found it pretty jarring when I revisited on Broadway. Perhaps it's a deliberate choice to again show how Gatsby doesn't truly belong and he's doing whatever he can to put on airs, butitfelt more likeoneactor choosing to do an accent when no one else did, ultimately coming across a bitsilly and out of place. And this is coming from someone who loves Jeremy's work."

I think Jeremy had a mid-Atlantic accent at Papermill but I don't think it was as pronounced as it is now, or at least I took a lot more notice of it on Broadway. I seem to remember Eva doing more of an accent at Papermill as well, but I'm not sure if that's true either. I did also wonder if Gatsby's accent was intended to show how much of a phony he was but I similarly also found it fairly distracting.

Ended up coming here for round two after seeing it off broadway on a student ticket! First of all, thank you to the box office for that wonderful seat: front orchestra row E for $25 at 4 pm is highway robbery for a show these days!

The changes to the first song didn't sit well with me, but honestly I forgot about them due to how stellar act two was. "Made to Last" was as stressful as I remember it being, "For Her" and its reprise are worth the $25 alone, and Samantha Pauly deserves a featured nomination for her amazing performance. She drew my eye all night, something that she didn't do Off-Broadway for whatever reason. WOW.

There was a tech issue with the car's arrival onstage during the first act, but that was quickly resolved and the cast handled it very well. The people around me who weren't familiar with the show didn't notice until the curtain went down, and those of us who did know what the error was understood it. Also, the manners in my section were good besides the person who was lipsyncing and somewhat gesturing during the songs. Not a fan of that, but it's very much the "Eva and Jeremy" show for a lot of people, and I didn't expect the best of audiences anyway.

I think a lot of the changes for Broadway worked, especially the larger ensemble. They were dancing for their LIFE out there and I can always respect that. I don't think anybody besides Samantha Pauly stood out though, and she was AMAZING fwiw. If the show ended after act one with her and Jeremy's leading songs, I would've thought I got my money's worth already. Great and fun night out!

pollster2 said: "Call me crazy, but I had an absolute blast at Gatsby. Jeremy and Eva sound incredible -- the entire principal cast is firing on all cylinders. The sets and costumes are stunning. English teachers will HATE this production -- but audiences will eat it up."

As an English major -- many years ago, but once an English major, always an English major :-) -- and as a fan of the novel, I can see myself going as a guilty pleasure, even if it made me wince now and then. If I ever get back up to NYC, that is. I wonder if it will tour?

As for Daisy loving Gatsby, there's enough in the text of the book to support that interpretation ("She had told him that she loved him, and Tom Buchanan saw," etc.). One could argue that she doesn't REALLY love him but just gets caught up in the moment, but I think it's fair to go either way. Of course, not having seen the show, I don't know how far they go with it. A big hearts-and-flowers Romeo-and-Juliet type of romance would be a bit much.

Went again last night the vague hope of any kind of fixes since the invited dress and…NOPE.

The show continues to feel loud, overblown, opulent, and yet somehow completely hollow - actually feeling longer than before (which never happens to me on repeat visits). A friend who saw it recently said that “it’s looks and sounds like the entire thing was a construction of AI” and I think that’s probably the most apt description. Everything is just so basic and, while the audience ate it up, I was still rolling my eyes at some of the dialogue, lyrics, and songs. As I’ve stated before, this is the Broadway equivalent of “Look! Oooooh, shiny!”

The only part of this show I actually like is the choreography and Samantha Pauly since her Jordan Baker is so disaffected that she tends to nail the dry jokes her character has. Also, the queer subtext between Jordan and Nick was more visible this time.

All 8 credited leads and some of the ensemble came out the stage door last night. Highly organized and, with the exception of Eva (who had guests), everyone was out in 15-20 minutes.

Sidebar: If you are over 6’0 (I’m 6’8), be prepared for a MISERABLE experience in the orchestra since there is virtually no pitch to the seats (like the Broadhurst) and one of my knees actually got bruised from being pushed into the seat in front of me with the patron in that seat pushing back. I had to move to a PV box seat at intermission.

To each their own … but I’m currently at the show and find it to be a wildly fun night at the theatre. Is it high art? No. Is it perfect. No. There are at least three songs in the first act that should be reworked IMO. But the comparisons to phantom are spot on. If you are a sucker for spectacle, romance & hummable tunes then this is for you. If it isn’t for you, that’s okay. Because the performance tonight is sold out. I expect it to outlast the rest of the new musicals this season.


If you’re going to see it, just get off your high horse & let it sweep you away. If you analyze to closely you’re doing yourself a disservice. Again … not high art. That’s not what this is, nor what’s it’s trying to be.

Saw yesterday's matinee.

This show is the definition of decadence.

The costumes, scenery, and lighting are breathtaking.

Jeremy Jordan's voice has never sounded better--it soars.

My GOD, Eva is gorgeous. Her acting is so nuanced. Her voice is crystal clear.

Samantha Pauley is a STAR --I could not take my eyes off her, even when the full cast is on stage, and a bazillion things are happening.

I really enjoyed the choreography. By far, the best opening I've ever seen. I saw Cabaret and Tommy this week, and I'd definitely return to The Great Gatsby before those two productions. I'm so tired of seeing ensemble members on stage doing things with no purpose. Every move the ensemble makes during TGG, moves the story forward. I have goosebumps thinking about their almost demonic, evolution of Roaring On at the end of the show. Gatsby is gone, but they continue.

I legit stopped breathing during the Plaza scene, and gasped--the tension between Tom, Daisy, Jordan, and Gatsby was remarkable. I found myself constantly "checking in" with Nick, and viewing the scene through his eyes. I wanted to give him a big, tight hug.

Run, don't walk to see this show, with THIS cast.

Oh, they stopped the show a few scenes in--based upon an earlier comment, I'd say one of the vehicles continues to provide a challenge. The break lasted less than five minutes.

Updated On: 4/18/24 at 07:26 AM

starlightlocamotion said: "To each their own …If you’re going to see it, just get off your high horse & let it sweep you away. If you analyze to closely you’re doing yourself a disservice. Again … not high art. That’s not what this is, nor what’s it’s trying to be."

I did see it, at Papermill, and I understand not much has changed. I saw it the first week of previews, so I could hardly have any preconceived notions, and in fact, was crazy excited to see it.

The notion that it's terrific if you just don't think about it, is perhaps the most ridiculous idea I've seen on this board. Shucked wasn't "high art"; Rock of Ages wasn't "high art" but they weren't masquerading around as a literary classic, so yes, this WANTED to be.

It's fine that you loved it, but it's also fine that others don't.