We take a look at what is being said about the new musical adaptation of F. Scott Fitzgerald’s novel, starring Jeremy Jordan and Eva Noblezada.
Variety: “As our elusive — and illusive — party host, Jeremy Jordan makes a dashing Jay Gatsby. He successfully differentiates himself from his predecessors, finding a softer dialect and leaning into Gatsby’s humorous nervousness and sometimes alarming intensity. He proves himself a top-notch leading man, a feat made more laudable by the fact that he’s surrounded by sub-par performances.”
Theatrely.com: “This is modern day American musical theatre at its finest, that feels right for the whole family. When you have an uber talented company of some of today’s favorites, it’s hard to go wrong. Howland can create a score that is so delectable, you could sit there for another two hours to soak in every last note. Kelley has Jeremy Jordan borderline tap dancing, I mean, come on! Debates will continue to occur for generations on the artistic value of stage adaptations, but when you find that magic of opulence and charm, you find your green light. Cheers Old Sport.”
The Guardian: ** “Of course, the flatness of these characters could signal towards their glibness in Scott’s original text. They are vapidly bourgeois after all. But this revival doesn’t seem to be in on the joke, attempting to carve out a genuine spark and interest in Nick and Jordan (Samantha Pauly plays an old money golfer who waves off marriage). We know so little about either of them, it’s hard to truly care when their relationship veers off-course.”
Time Out: *** “The Great Gatsby looks great. If you want production values, this adaptation of F. Scott Fitzgerald’s 1925 novel, directed by Marc Bruni, delivers more than any other new musical of the overstuffed Broadway season. It’s the Roaring Twenties, after all—now as well as then—so why not be loud? Let other shows make do with skeletal, functional multipurpose scenic design; these sets and projections, by Paul Tate de Poo III, offer grandly scaled Art Deco instead. Linda Cho’s costumes are Vegas shiny for the party people and elegant for the monied types. The production wears excess on its sleeveless flapper dresses.”
Entertainment Weekly: “Gatsby’s Tony-nominated leads, Jordan and Noblezada, revel in the whimsical naivety and rampant toxicity that Gatsby and Daisy possess, portraying the couple as obsessed lovers caught within one another’s vortex. Pauly’s Jordan is a feminist firecracker that feels like a breath of fresh air amongst her haughty peers and, despite having his role being heavily stripped back, Rickett still manages to make Nick a witty, steadfast friend that is too pure for this world. When they’re all together onstage, Gatsby explodes with life and energy that can’t be replicated. Seriously, you know a cast is crushing it when their complicated performances make Tom seem like the most understandable guy in the room.”
New York Times: “This new version of F. Scott Fitzgerald’s classic remains largely faithful to the novel, but it trades subtle prose for a straightforward production.”
Exeunt Magazine NYC: “This production lovingly transforms Fitzgerald’s The Great Gatsby into a musical and may even bring it to a wider audience or renew interest in the classic novel. It’s an homage to this American classic that charms and transports while also breaking hearts.”
New York Post: “Theater and film rarely know what to do with “Gatsby.” They often decide, as this musical sometimes does, to focus on the escape to sexy speakeasies with flappers.”
Slant Magazine: “Bookwriter Kait Kerrigan’s restructuring of the story restores the vital satirical edge of F. Scott Fitzgerald’s iconic 1925 novel and rescues this adaptation from the trash heap of Broadway flops. Imperfect, yes, and risk-averse in its storytelling, but this version of The Great Gatsby that premiered in October is engaging, tautly rendered, and visually dazzling ride.”
New York Theater.me: “The one exception is its exceptional visual splendor, in particular Paul Tate de Poo III’s set and projection design, but also Linda Cho’s sparkling flapper costumes. Two gleaming vintage cars (a yellow Rolls-Royce and a blue Pierce Arrow coupe) not only move onto the stage but come accompanied by rapidly changing scenery; The parties explode with fireworks. Not all of it is a deliberate sensory overload — there’s a contemplative vista of the Long Island Sound with its rippling waves and distant dock’s lone green light – but, yes, the visuals bombard us.”
The Stage: *** “With straightforward direction from Marc Bruni, this adaptation feels glitzy and obvious.”
To find out more about the production visit: https://broadwaygatsby.com/