There is plenty to dazzle in this musical adaptation of F. Scott Fitzgerald’s classic novel – but the drama and ultimately tragedy is brought in too late to pack a powerful enough punch.
The Great Gatsby is a story that continues to fascinate audiences (whether on screen, stage or revisiting the book) and transferring from Broadway for the limited summer season, this musical adaptation has much to please visually – but could have gone into more depth into the story and drama.
Of course The Great Gatsby is any designer’s dream, whether it is set or costume which this production really goes all out for. Paul Tate dePoo III’s set and video design impressively blends in together to ensure that every scene feels perfect visually in the variety of locations used. It offers both the glamour of Jay Gatsby’s abode as well as the seedier locations that hint of the darker aspects of the story as they come into play.
There are so many gorgeous details that are on display with the plush furniture reflecting the luxury on display, but I also thoroughly loved the design of Nick Carraway’s cottage which almost has a fairytale quality about it – lulling the audience into a false sense of security as to how Gatsby’s and Daisy’s romance plays out. The scene at the cottage offers a flash of light hearted but sincere humorous charm that is irresistible.
Combined with Cory Pattak’s evocative and powerful lighting design, Linda Cho’s gorgeous costume design and Dominique Kelley’s lively and infectious choreography you really are swept into this era of decadence. I loved the way in which this all comes together in the opening number ‘Roaring Number’ that takes audiences from a sombre silhouette (a foretelling of things to come) to a dazzling range of colour and life that sweeps the audience right into the centre of the story in an instant.
However, this being said Kait Kerrigan’s book could have brought out the drama and increasing tension from all the couple’s intertwining stories to pack more of a punch earlier on. The tragedy just feels a little underplayed, because it seems more focused on the party aspects. The second act is of course stronger in this regard, but I really wanted to see more of the tension between Daisy and her brute of a husband Tom, the way in which Myrtle and and George’s relationship plays out – because these are just integral to what happens as Daisy and Jay reconnecting. The emotional twists and turns work perfectly for a musical twist.
In terms of the score, the best songs in the show are ones that are filled with depth and don’t try to tell the story through it – rather more focusing more on the character’s state of mind. In particular, it is hard not to feel the power of ‘For Better For Worse’ that showcases Daisy’s situation perfectly, which is well matched with ‘For Her’ that hits the romance and longing that lies at the heart of the story perfectly. The second act has a moodier vibe musically wise that captures the turn in the story as well – with ‘Shady’ and ‘Past is Catching Up to Me’ proving to be particular highlights.
Performance wise, there is plenty to be admired. Jon Robyns as Tom Buchanan is particularly menacing and chilling to witness in the way he treats the women in his life, while Frances Mayli McCann highlights how Daisy uses the bright and breezy aspects of her character to mask her insecurities – to the point of callousness (as highlighted in the final scenes brilliantly. Her vocals are of course extremely beautiful. But it is Jamie Muscato as Jay Gatsby whose haunted and surprisingly humane take on the character that packs the most punch. You feel his torment, loneliness and struggle to deal with the past with present throughout – it is a sublime performance.
Corbin Bleu making his West End debut as Nick Carraway is utterly charismatic and you get a sense of his sincere conflict as he finds himself further drawn into the various couples entanglements as well as his own with with Jordan Baker (played with a lovely candour at this performance by Frances Dee).
Overall, this musical adaptation of The Great Gatsby is fantastic in the way in which it showcases the glamour and frivolity of the 1920’s – it just needs a bit more of the dramatic impact of the original story to make an even stronger emotional punch.
By Emma Clarendon
The Great Gatsby continues to play at the London Coliseum until the 7th September 2025.
Rating: ❤️❤️❤️