Review of ‘The Great Gatsby, The Musical’: “Nouveau-riche staging meets old-sport storytelling”

F. Scott Fitzgerald’s literary classic lands on the London stage, in a limited-running production starring some of the biggest names in the West End. Guillermo Nazara shares his views on the show, to let us know if the highly anticipated musical extravaganza ends up being a valley of ashes.

I’ll be honest with you – this show felt depressing to me, not because of the piece per se (despite its protagonist not having a shot at keeping that elite life for long), but because being surrounded by so much opulence served as another reminder of how poor I am. Well, I guess a girl’s gotta do what a girl’s gotta do.

Following its initial Broadway iteration, the stage adaptation of F. Scott Fitzgerald’s so-called great American novel has been London’s latest talk of town for several months now. The reasons behind it are easy to grasp: a well-known story starring some of the biggest names in the West End scene, and, according to its fierce advertising, an explosion of grandeur like we’ve never, ever seen before – except for tagline originality.

In all fairness, they do have the right to brag about a thing or two in this production. It’s not the perfect musical, but it comes a long way from the current trend of rehashed movie titles – featuring no development in their theatrical translation other than a bland score and excerpts from the source material replicated ad nauseam.

Gatsby takes a step forward by moving backwards in style. In many ways, we could call this work the return of the traditional grand musical spectacle, which today’s landscape has been struggling to regain. A lush repertoire full of memorable tunes, lavishly presented numbers, and a compelling melodrama make of it a safe gamble for producers and audiences alike – which this time has proven to be no exception.

Written by Jason Howland (Music), Nathan Tysen (Lyrics), and Kait Kerrign (Book), and under Marc Bruni’s direction, the show plays by the rules of its predecessors – applying every possible trick in the formula to concoct a fiery cocktail which, though not the most effervescent in terms of creativity, is still a bubbling array of visual awe.

Howland’s music is the main flapper in the piece. With a generally cohesive sound, the songs boast a distinctive 1920s flavour – evenly blended with elements of contemporary rock. The mixture doesn’t always land as successfully, though – with some sections, particularly during Act Two, veering into an overly contemporary vibe that feels slightly out of place.

Yet, the biggest flaw in the writing stems from its lyrics. Though not necessarily bad (at least, at some moments), there’s a substantial lack of poetry, subtext, and, all in all, refinement in expression. There’s an absence of prosody on a few occasions, while the rhymes feel unpolished and a little lazy on many others.

The dialogue, on the other hand, is articulated with enough flow and naturalness. However, its bridging into the sung-through parts still needs some additional tweaks. While all the numbers are well-positioned from a narrative perspective, many cues don’t have a strong enough buildup to lead into them – therefore, triggering a mild sensation of abruptness.

You may argue that it’s not the words that have drawn you to this production, but its flamboyant looks – and if that’s the case, there’s hardly any chance you’ll be disappointed. Designed by Paul Tate dePoo III, his combination of practical sets with video designs is a total tour de force – and arguably the most precious asset in the entire show.

The sumptuousness of Gatsby’s universe runs through every scene – with a bombastic, spare-no-expense approach that’s not short of astuteness in its execution. Brandishing a sense of splendour all throughout, it’s true that its ongoing chase for the wow factor comes off as excessive at some points – driven by no other purpose than getting a few extra claps; though none of them seem undeserved.

But if the staging is the show’s most valuable component, the cast pulls no punches back at reclaiming that distinction – quite a few times, resulting in a triumphant endeavour. The whole ensemble regales the viewers with electrifying group renditions – excelling in both vocal and dancing ability.

As for the leads, Corbin Bleu shines in the part of Nick Carraway, effectively bringing out the character’s charm and comicality, while John Owen-Jones flaunts his signature singing prowess as Meyer Wolfsheim. The highest mention goes, however, to Jamie Muscato in the title role – oozing elegance and presence in his portrayal, while also displaying vigour and robustness in his voice.

You’ve been invited to the biggest party in the West End – still as a paying customer, but invited anyway… But if you’re to spend your money on the classic eye-catching theatrical extravaganza, a live performance of Gatsby may bring back more benefits than any tempting bootlegging. Let yourself be taken by the enchantment and pizzazz the megamusical concept has been revered for across the world – for better and for worse.

All pictures credit to Johan Persson.

The Great Gatsby, The Musical plays at the London Coliseum until 7 September. Tickets are available on the following link.

By Guillermo Nazara