“The best thing a girl could be in this world is a beautiful fool”. Say it isn’t so Daisy! After churning through another American election cycle slandering women with glee, this line came back to me. Now seems a good time to take in The Great Gatsby. New money versus inherited wealth. Social classes. A critical view of the American Dream. Excess in abundance. Abject racism. Take your pick or consider them all.
I was never a fan of F. Scott Fitzgerald’s novel. I could not get through it in high school. A brilliant off Broadway production entitled Gatz straightened me right out. (That production is back for its twenty year anniversary.) In that play, Nick reads the entire novel – every single word – in an office. The action morphs from there with co-workers. If you can still snag a ticket, go.
If you rather a lesser but still entertaining evening of theater, the new musical offers some real pleasures. The show is absolutely stunning to look at. Scenic and Projection Designs were crafted by Paul Tate dePoo III. His set transitions are awe inspiring. Linda Cho’s Costume Design is a never ending avalanche of Jazz Age treats to savor.
During the 1920’s women’s fashions began to relax and become more casual with shorter hemlines and looser fabric. The next decade would welcome the Hays Code and motion pictures were required to follow morality guidelines written by a Catholic priest. Some turning point occurred. Maybe the Great Depression was a part of the catalyst? Conservatives and religious zealots clamping down on individual freedoms? Impossible now you might think. Eyes wide open because we may be exiting another Gatsby cycle and letting women know they have advanced too far.
Please note that this fluff show is nowhere near that dark but it does make you think. The music and especially the lyrics are forgettable. There is a bizarre yet effective scene in the second act where a death happens. The music screams Sweeney Todd which is jarring but at least interesting. A musical with subpar tunes is usually a no go for me.
Visually, however, this show is sumptuous to experience. The plot is well known and handled here with some small adjustments. The performers are generally far better than the material they are given. Jeremy Jordan (Newsies, Bonnie & Clyde) portrays the titular character Jay Gatsby. He sings well and is appropriately vague. Daisy Buchanan was played by understudy Traci Elaine Lee (Shucked). She was really quite fine and appropriately shallow and self-absorbed.
In the role of white supremacist Tom Buchanan, John Zdrojeski (Good Night, Oscar) nailed his underwritten character. Paul Whitty and Sara Chase were also memorable as the Wilson’s who play a pivotal role in contrasting financial fortunes. Samantha Pauly (SIX) shined as the sarcastic Jordan Baker. I had not realized until writing this blog that the character was named after two Cleveland car companies (Jordan Motor Car and Baker Motor Vehicles). Her name alludes to her “fast” reputation and comments on the new freedoms won by women during this era. Not surprisingly this novel is a banned book. Back to making babies and doing laundry ladies!
Nick Carraway narrates the story (less pronounced in the musical than in the novel). His optimism will fade as he assesses this world around him. Noah J. Ricketts does a nice job representing the “us” as we gaze at the wealthy excess of the American Dream of inequality and selfishness. The Great Gatsby is an average musical but I found the themes incredibly timely.
The Great Gatsby is running at the Broadway Theatre. Mr. Jordan’s final performance is January 19, 2025. Gatz is being performed at the Pubic Theater through December 1, 2024.