The Great Gatsby novel was published by F. Scott Fitzgerald in 1925. Its complex themes echo Fitzgerald’s disillusionment with The American Dream during the post-war economic boom where he believed that he was witnessing “a whole race going hedonistic, deciding on pleasure.” With this ambitious stage adaptation of the original book, by Simon Levy, director Tally Arundell aims to “pull audiences into a world that feels intoxicatingly alive.” Reflecting Gatsby’s pursuit of wealth, status, and Daisy: perhaps this production bit off a bit more than it could chew.
The set, designed by Abigail Lemans, is minimal but effective. A backdrop of hand painted waves, with a hint of a green reflection and the iconic, all-seeing billboard watching all that unfolds below on stage. At the back of the stage is the deck which is used to great effect for events in the past and as parts of Gatsby’s mansion. The pool on the forestage is a particular highlight, allowing actors to “dive” into it without sacrificing space onstage or audience members in the front row. Set changes by the ensemble are quick and seamless, leveraging key furniture pieces to set the scene. Just enough furniture that the audience knows exactly where they are, but not so much that changing locations are a pain.
Lighting, by Clotilde Dumont and Lochie Mackie, plays a huge role in setting the atmosphere right from the get-go. Hues of pink and green dominate the colour palette representing fantasy and greed, comfort and ambition. The Buchanan household is cast in pink as if we are viewing their old-money life through rose-tinted glasses, while underneath a sea of secrets threatens to break the spell. In contrast, green is used for Gatsby. The green light at the end of the Buchanan dock, his desire for a life he can almost touch but never quite reach. The production is accompanied by sounds, designed by EJ Hulance, and a live jazz band.
While costuming, by Maia Charman and Nat Richies, for the main cast is well executed and period appropriate, the ensemble are not treated to the same quality: with dresses that are too tight, too short, and low cut for an authentic 1920s party. There is also a distinct lack of hats. I’ll give a little grace here as I doubt the production team has quite the budget that Gatsby does. Daisy and Jordan’s costumes are a highlight though. Floaty dresses compliment Daisy’s careless and non-committal nature while Jordan’s jumpsuits and boxy silhouettes present a modern woman within the old money community.
In such an ambitious production, consistent direction is key to tie it all together. In this adaptation, some of the key scenes are masterfully executed by Arundell. Pace, rhythm, and raising of stakes are accomplished with ease on par with many professional productions. However, these observations can be inconsistent across the whole show. There is certainly an opportunity to further establish character moments and stage presence. Our first introduction to Gatsby, for example, is rather anticlimactic. The expectation of the outrageous parties and the enigmatic man behind them is set up early on, only for the reality to be a silent stage with the ensemble quietly milling around and Gatsby meeting Nick as soon as the lights go up. Hardly the big glitzy bash that was promised. This scene can benefit from a backing track of music, laughter, and revelry from the cast and a lot more of a build up to the arrival of the titular figure, Gatsby. These somewhat disjointed moments are few and far between however, with the overall production being a convincing study of the Golden Age and inter-class tension.
I say old sport, the acting in this production is top dollar. Accents are consistently good, with a clear distinction between the transatlantic upper classes and normal city folk with Nick Carraway, played by Nick Danby, staying firmly in the midwest. Danby as Nick is an effective storyteller. As the common thread throughout the story, his arc from admiration to distaste of the upper classes and their relentless pursuit of the American Dream is believable and keeps the audience engaged throughout. Eddie Luchmun as Jay Gatsby is charismatic and charming, with clear ambition and seemingly infallible self belief. Some wonderful choices from Luchmun throughout, with, I think, still some room to explore what happens when he starts to lose control of his fantasy. Mia Lomer as Daisy is fantastic. Lomer has a very clear understanding of the character, played with flawless abandon and Golden Age elegance, despite being robbed of a critical character moment at the end of Act 1. Top performances go to Felix Warren and Mina Strevens as Tom Buchanan and Jordan Baker respectively. Warren is deliciously odious, and yet still has enough likeability to seem the safer option opposite Gatsby. A tight rope to walk, executed perfectly. Strevens is the perfect straight talking 20s IT-girl. She has excellent comedic timing and a very natural, easy movement that makes the character shine. An additional shoutout must go to Violette Chereau and Michael Mundove as the Wilsons, for carrying some very intense emotional scenes believably without straying into melodrama.
The Great Gatsby is a challenging story to tell, even on a West End budget, with complexities in terms of technical presentation but also in its characters and themes. Overall, I think this production delivers a strong adaptation, supported by a talented cast and a highly proficient technical team, of one of the greatest novels that’s ever been written. With many shows, there’s always room for improvement: but don’t let that stop you from a great night out at Gatsby’s.
