THE GREAT GATSBY at Paper Mill Playhouse - Critics’ Reviews — Page 4

The WORLD is saying they're trying to get to Broadway before the other one. It makes for a good story. The fact is, they were always aiming for Broadway this season regardless of the ART version. Betty Boop is coming to Broadway this season as well, right after their world premier. It's already settled even before a single performance for that matter.

quizking101 said: "Wholeheartedly agree, but I feel like the score needs as much of an overhaul as the book since it’s just generically and aggressively loud. It’s Baz Luhrmann on a budget.

Oh yeah, the score definitely needs work, too, but it does have potential. Some of those songs are pretty good. Especially "My Green Light," "A Beautiful Little Fool," "For Her," and "Roaring On." Someone recorded the audio and put it on YouTube. Here's the link to the playlist.

https://www.youtube.com/playlist?list=PLxT2TKPph5kgmxuQJOR5Z0YyKqFE7QBR6

I want to be clear that I'm not even really aware of what narratives are going on in social media, just strikes me as emblematic of many industry problems right now that in an environment this tough for artists, producers are just throwing massive amounts of money behind a name show that isn't ready, and I believe quality will stand the real test of time. I'm not interested in "morally" judging people for producing a show, though in Gatsby terms the venture does feel a bit Buchanan: reckless. At the same time, I appreciate Kad's point. Perhaps the producers feel that it's now or never.

I saw the matinee today and I think it's a show of great production value that works as entertainment but doesn't necessarily work as an adaptation--to the point where I wish they had just marketed it as "Gatsby-inspired" or something instead. While it still deals with some of the themes from the book like social class, the American Dream, etc., it feels like those themes take a backseat to the main love story (and side love stories) that plays out, to the point where all the tangled romantic threads seem to make it feel almost like a melodrama.

I think an issue with removing Nick as the narrator is also that they can't figure out how big of a character Nick should be. Because the whole book is told from his point of view, they seem loathe to make him "just another character" and actually end with his narration, but most of the time he just seems to be around to add a level of moral preaching to the story.

I thought it was a fundamental flaw that the music wasn't of the 20s era (though in the director's note, they mention that this is intentional to "bring the audience into active conversation with the present") and fwiw other friends I talked to didn't seem to have the same issue. But the music that is here feels very bland and generic contemporary musical theater. There are a lot of power ballads and high belting that get the audience excited but ultimately the songs don't go anywhere or otherwise feel too on the nose (Myrtle's numbers as well as the second act opener, Shady, were some of the best songs I thought). The orchestration flirts with jazz stylings occasionally before falling back into a standard musical theater pop (a la Mean Girls/Dear Evan Hansen).

Writing aside though, I think it's still a fairly enjoyable work, especially for those that just want a fun night out and don't have much attachment to the novel. The scenic design is absolutely gorgeous and does some good work in integrating projections to actual set elements, and it makes smart use of the pit as Gatsby's pool. And the music can be fun at times, if unmemorable.

Broadway Flash said: "The WORLD is saying they're trying to get to Broadway before the other one. It makes for a good story. The fact is, they were always aiming for Broadway this season regardless of the ART version. Betty Boop is coming to Broadway this season as well, right after their world premier. It's already settled even before a single performance for that matter."



Boop - Shubert

Gatsby - Belasco

I'd say the Kerr but we all know that this Gatsby is too big for that theater. And the Lyceum maybe? I don't see this going to the Belasco.



Does the St James have anything lined up after Spamalot?

any updates on this?

Broadway Journal confirmed this has the Broadway Theatre for a spring opening, with Jordan and Noblezada.

hearthemsing22 said: "Would this production effect the possibility of the ART production having a Broadway transfer?"

Gatsby is aiming for spring 2025, according to that same article.

Told you first......

Jeremy has a lot of seats to fill....

I’m curious to see if Howland will conduct his own score once again. He couldn’t do so in NJ because of Shucked.

Robbie2 said: "EDSOSLO858 said: "If this has the Broadway, I swearDoctor Zhivagomight end up lasting longer."

Chunsoo Shin wants in on Bway despite the reviews and his most recent show One Upon a One More Time just bombed his other show was Doctor Zhivago which actually played at the Broadway, I think lasted 2 months......bombed as well. Gatsby will bomb as well! Didn't see it but I trust my industry friends negative thoughts about it."



Official announcement coming: Chunsoo Shin, a Seoul-based theater producer who enhanced (i.e. subsidized) The Great Gatsby at the Millburn, New Jersey-based Paper Mill, has secured the Broadway Theatre for a spring transfer, people familiar with that show said.

I think Gatsby as IP also means a lot more than Dr. Z. There's a glamor that can be advertised, and there's big touring and international potential.

As said before, no matter if this version hits or flops, it could set back the Chavkin/Florence version by a couple of years to give some space. Though if the Daisy I'm told is attached ends up doing it, she'd help their sales on Broadway (and was, until recently, attached to a now-paused musical with an A.R.T. connection).