Ok, I have waited long enough! Here's my review.
Review: From West Egg to Wasteland, The Great Gatsby Musical Falls Flat
Despite a star-power cast, the musical adaptation of F. Scott Fitzgerald’s iconic novel fails to bring Zazzy magic to the stage.
★★☆☆☆
For a while now, there has been hype surrounding The Great Gatsby being adapted for the stage. However, this particular production that opened at the Paper Mill Playhouse today just does not add up. While the show features an incredible company of actors who deliver masterful performances, the real problem is the structure of the show itself.
Let us start with the primary culprit of this show: the book. Kait Kerrigan’s book feels like a distant, misguided relative of Fitzgerald’s masterpiece novel. Her adaptation seemed to willfully misunderstand the essence of his work. It lacks the subtlety, nuance, and depth that made the original novel a timeless classic. The social commentary, the exploration of the American Dream, and the tragic irony that defined Gatsby's narrative were diluted to the point of near non-existence. The profound themes that made the novel a timeless exploration of the human condition were sacrificed for the sake of misguided artistic choices. While Kerrigan sprinkled a few recognizable quotes from Fitzgerald's novel throughout the production, they felt like hollow echoes devoid of context. Instead of enhancing the narrative, these snippets served as reminders of what the musical could have been—a faithful homage to the brilliance of the original work. Fitzgerald's nuanced exploration of the Jazz Age and the American Dream was reduced to a disjointed series of scenes and shallow character interactions. If the intention was to pay tribute to one of the greatest works of American literature, Kerrigan's adaptation missed the mark entirely.
Aside from the book, the musical’s score by Jason Howland and Nathen Tysen has some standout numbers but overall needs improvement. "For Her" showcases a poignant performance by Gatsby (Jeremy Jordan), while "Beautiful Little Fool,” sung by Daisy (Eva Noblezada), is hauntingly beautiful. "My Green Light" and "Bootstraps" also manage to encapsulate the spirit of the Roaring Twenties, providing moments of genuine musical brilliance. However, addressing the weaker elements of the score through rewriting and judicious cutting could elevate the score to the level expected of a production inspired by a literary masterpiece. The challenge lies in achieving a harmonious balance that respects the novel's legacy while forging a distinctive musical identity.
The show features direction by Marc Bruni, whose staging demonstrates a clear understanding of the novel’s dynamics. His interpretation captured the essence of the character’s relationships and the atmosphere of the time period. While Bruni adeptly navigates the complexities of the narrative, there are moments where the cohesiveness falters. Tightening the directorial reins could refine the overall narrative flow, ensuring that each scene serves a distinct purpose in the progression of the story. This could enhance the audience's engagement and prevent any sense of meandering in the storytelling.
Dominique Kelly's choreography injects vitality and rhythm into the production. The dance numbers, particularly during Gatsby's extravagant parties, are exuberant and visually striking. Kelly succeeds in capturing the energy and exuberance of the era, creating moments that are both entertaining and evocative. Kelly's choreography, while undoubtedly spirited, could also benefit from moments of precision. A tighter synchronization among the dancers could enhance the impact of the choreographic elements, ensuring that each movement contributes to the overall visual narrative.
If there is anything “good” from this production, it would have to be the set and projection design by Paul Tate dePoo III. His set mostly presents the elegant lifestyle of the time period. However, there is one set piece that could use some reworking. I’m talking about the flat-out creepy eye-glasses billboard we see in the gas station scene. Other than those small flaws, the set and lighting by Cory Pattak actually work well in bringing the world of Gatsby to life.
With all the issues of the show itself aside, let’s talk about this cast. While they deliver performances that are nothing short of wickedly talented, it is unfortunate that they find themselves wrestling with material that doesn't quite match the brilliance of their abilities. Jeremy Jordan, who has returned to his Newsie stomping grounds at Paper Mill, commands the stage with his beautiful voice as the title character. His true love, Daisy, is played by the remarkably talented Eva Noblezada. Who brought joy to my ears with her perfect soprano voice. Anytime that woman sings, I get emotional. Especially when she delivers the penultimate number in Act II, “A Beautiful Little Fool,” where she realizes all that she had has crumbled before her very eyes and is leaving for, hopefully, a better life. While these two command the stage, there are some other performances that I feel should have gotten more recognition. No one deserves more recognition than Samantha Pauly as Jordan Baker. As someone who has seen Pauly in previous shows, it seemed a waste of her incredible talent to not even get a solo number. Noah J. Ricketts also delivers a beautiful
performance as Nick Carraway, but he also deserves more of the spotlight. The brilliance of the cast stands in stark contrast to the material they are tasked with delivering. The actors navigate through the narrative with skill and finesse, but the limitations of the adaptation become apparent. The cast's undeniable talent often outshines the material, leaving one to wonder what heights could be reached with a more refined and resonant script.
While this show has some ups but many downs, I think it does have potential. However, it needs a lot of work before going anywhere else, let alone Broadway. I feel that if there is a new book writer who will properly adapt the original novel, along with some re-workings of the score and adjustments to the set, this show will likely have a better life. Hopefully, the creative team will reassemble and give the proper revisions this show desperately needs.
The idea is to work and to experiment. Some things will be creatively successful, some things will succeed at the box office, and some things will only - which is the biggest only - teach you things that see the future. And they're probably as valuable as any of your successes. -Harold Prince
