The Great Gatsby – London Coliseum

There is a lot to enjoy in the new production of The Great Gatsby, but the first thing I must stress, particularly for audiences unfamiliar with the source material: this is a tragedy.

When people hear “Gatsby”, they often think of lavish parties and glitz. On that note, there are some lovely moments in the party scenes: the silhouette introduction is especially beautiful. However, the size of the Coliseum stage works against the show at times. With such a vast performance space, the production would benefit from having a few more cast members to truly fill the stage. There are moments when the party scenes don’t quite feel like they are in full swing. 

The added humour surrounding Nick Carraway (played by Corbin Bleu), particularly the jokes about him dressing like a teacher, really help to emphasise his outsider status. This could be deepened even further by allowing him more narration, bringing a thoughtful, pensive dimension to his character. 

One of the standout moments in the production is the song Absolute Rose, where a minor detail from the novel is expanded into an entire number, this kind of imaginative adaptation is what musical theatre does best. Similarly, New Money is a great deal of fun. While the “nouveau riche” joke might go over the heads of those who aren’t familiar with the concept, it is still a lively, toe-tapping number. That said, at times, the audio balance for the ensemble seems off, making it difficult to hear the lyrics during group numbers, whereas solos moments fare better. 

Jamie Muscato plays Jay Gatsby, and everything about his performance, in the first half, is superb. He portrays a unique version of Gatsby, probably not seen before; awkwardly confident, stiff in his movements, using minimal or overly formal gestures, with a laser focus on a single objective. Unfortunately, after the interval, this portrayal shifts; he becomes noticeably more casual, which feels inconsistent. While it does pick up again towards the end, the loss of continuity is a slight disappointment. 

Amber Davies as Jordan Baker is an inspired casting choice. She embodies everything one could want from the character. Much like in the novel, her relationship with Nick begins suddenly and ends just as abruptly, this is mirrored effectively in the stage adaptation. 

Corbin Bleu is truly remarkable as Nick Carraway. Much of what he brings to the stage is admirable, though it is a shame the role doesn’t offer him more standout moments. His song in the hotel suite, as the group gradually becomes more inebriated, is a real highlight. The creative choreography (by Dominique Kelley), which had the scenery spinning and shifting to mimic a rotating room, is clever and adds an extra layer of fun, especially with the inclusion of hiding spots among the set. 
Linda Cho’s costume design is gorgeous, if you’re a fan of 1920s fashion, you’re in for a treat. The variety and richness of the costumes feels appropriate for the period. The famous shirt-throwing scene remains, though some struggle to understand why it’s held in such high regard. The nouveau riche characters are dressed in costumes with added glitter and sparkle, not historically accurate perhaps, but fitting for a musical and for the exaggerated persona of new money. 

The scenic design and projections by Paul Tate de Poo III are truly exceptional. The integration of digital and physical elements is seamless and artistically bold. It is certainly worth seeing this production just to witness what is possible with modern scenic design. 

All in all, the individual elements of this production are first class, but the final product still feels like it is missing something intangible, but it is a visual and technical marvel, worth seeing for the design alone. 

***    Three Stars