Lead actor Tyler Collins talks new stage adaptation of ‘The Great Gatsby’: “Our version is less about the glitz and glam”

F. Scott Fitzgerald’s classic novel lands on the British stage for the second time this summer, in a new version running at the Pitlochry Festival until the end of September, followed by a short run at the Derby Theatre. Guillermo Nazara chats with one of the show’s main  performers to learn more about the development of the piece and how this adaptation delves further into the book’s complexities.

How does it feel to star in this new adaptation of one of the greatest classics of modern literature?

It’s an honour to be trusted with this character. Elizabeth Neman’s adaptation captures a lot of the essence of the book, and Sarah’s research and attention to story has been incredible. I’d be lying if I said I wasn’t slightly intimidated by a role like Tom. Fitzgerald’s language is incredibly nuanced, and I’m still finding more textures in the text.

It seems like ‘Gatsby’ truly is that ‘old sport’ audiences love to reunite with. Why do you think that’s the case?

Gatsby himself is the American dream incarnate. The possibility that you CAN achieve anything. It serves as a parable and commentary on social status, class, and humanity as a whole. I also think maybe, as a modern audience, knowing what happened after the 1920’s adds to the tragedy of the story. Especially in today’s world, with so many similarities to a world of ‘haves and have nots’.

With the mega-musical production currently playing in the West End, do you feel some additional responsibility about how to deliver this production?

Kind of, but in the same way that if you found out another actor was doing the same monologue for an audition. We’re inevitably going to tell the story differently. From what I’ve read, ours is less about the glitz and glam of the roaring 20’s, and focuses more on Nick’s navigation of high society, lies, and the people around him.  I also think our show is darker. Hitting home a lot of the grizzly weight of the big story moments. 

The book has been adapted countless times, what makes this version stand out?

The creative team. Jen’s sets, Emma’s Lights, Ivan’s sound design, and Shonagh’s musical arrangements are all brand new and create an incredible tapestry on which we get to tell a (hopefully) grounded and compelling version of the story. I also think our version suits the stage. You can’t write a play the same way you’d write a novel or a film, but I think our show captures a lot of the book’s moral ambiguity, and the whirlwind of Nick’s journey.

What’s been your process of building your version of Tom Buchanan?

Tom’s not a very nice guy, but my job is to find a way to empathise with him, which means finding out why he’s making the choices he’s making without judging him. Alan Rickman said about his Sherif of Nottingham “He’s not a bad guy, he just has a specific set of circumstances to make him happy”. So, there was a point in rehearsals where I had to say “okay I’m not going to apologise for Tom’s behaviour anymore” because he needs to feel justified, otherwise he’ll become comically evil. 

I also do a lot of nerdy movement work to find his walk, and pulled from interactions from other “Toms” I’ve met.

Despite its source material, the play is still a brand-new version. How much creative freedom have you had to originate the character?

Tonnes of creative freedom. Time, not as much. Working in a rep ensemble means splitting rehearsal time between multiple productions. So you have to work at a fast pace, which means not getting as much time to try things out and fail before the audiences are in. I’m also aware that I don’t quite match the physical description of Tom in the book, but in a way that’s been freeing for me to create my own version rather than being too beholden to the source material. At the end of the day, we have to tell the story as best we can, and there’s a certain amount of trusting yourself that has to be done.

Have you included any redeeming features in your version of Buchanan?

For sure. When Sarah (Brigham, Director) and I first spoke about Tom, we agreed he had to have some sort of likability. He’s horrible, but not enough for Daisy to just leave. There always has to be some light with the shade. We all know that one couple stays together even though they’re clearly unhappy, or maybe they only show affection behind closed doors. Tom Buchanan is riddled with insecurities — that’s what makes him so explosive. But those insecurities are what also what can make him relatable.

What particular challenges do you find in this role?

The character’s depth of anger. Tom is operating in a state of rage through a lot of the story, and I really don’t enjoy being angry the same way the character does. He enjoys others discomfort in a totally reckless way. Sometimes the hardest thing is sitting in that discomfort. This is my first dramatic role onstage in quite some time, I usually work in comedy, but one of my favourite challenges has been using the same instincts to feel for where the pace and energy can push and pull. Hearing an audible gasp, or an “oooh” from an audience hits the same as a laugh for me.

What do you think ‘Gatsby’ stands for in today’s world?

Hope. That may be if enough of us can dream the impossible. We can all find some truth and meaning in the world. The story serves as a story of hope and as a warning. Gatsby, like Icarus, flies too close to the sun, but I think the story gives us a chance to learn from his mistakes and do better, even if we still haven’t figured it out a hundred years later.

Why come see this production of ‘The Great Gatsby’

It’s a piece of theatre that I believe warrants the adaptation, and in a way that only a stage play can do. It’s a hard-hitting, emotionally raw version that I think will grab audiences whether they are familiar with the novel or not. 

Production picture credit to Tommy Ga-Ken Wan.

The Great Gatsby plays at Pitlochry Festival Theatre until 25 September before transferring to Derby Theatre from 3-25 October. Tickets for the first run are available on the following the link and here for the second one.

By Guillermo Nazara