In 2021 F. Scott Firzgerald’s novel, The Great Gatsby, entered the public domain. The story of a new money man who stalks his old money ex girlfriend. Two musical adaptations entered development. This summer I saw one at Cambridge. This weekend I saw the other on Broadway.
Gatsby: An American Myth
Music by Florence Welch and Thomas Bartlett
Lyrics by Florence Welch
Book by Martyna Majok
Choreographed by Sonya Tayeh
Directed by Rachel Chavkin
Ambitious. Chavkin’s production emphasized class war. The set was an ominous pile of broken car parts. The chorus alternated between genderqueer hedonists and exhausted service staff. The American Dream had let everyone down.
Daisy’s affair with Gatsby is primarily physical. A place for her to channel her barely suppressed rage. Nick and Jordan are explicitly queer. Two hapless observers of the heterosexual disasters around them. Their roles are reduced while Myrtle Wilson is expanded. She sees the Buchanans for what they are but is desperate to join their ranks. Solea Pfeiffer gave a mesmerizing performance. So much so that she nearly knocked the show off balance. “The Great Myrtle.”
There are lots of ideas here and they don’t all gel. But they’re interesting. My biggest complaint is that Welch’s power ballad heavy score grows monotonous. I hope I get the chance to hear it again and reassess.
The Great Gatsby
Music and Lyrics by Jason Howland and Nathan Tysen
Book by Kait Kerrigan
Choreographed by Dominique Kelley
Directed by Marc Bruni
Bruni’s production is closer to the aesthetic of Baz Luhrmann’s 2013 film. There are colorful sets, sparkly costumes and shiny cars. We still get power ballads but they’re mixed with bouncy comedy songs and peppy dance numbers.
Gatsby and Daisy see themselves as star crossed lovers. Eager to romanticize their past and present circumstances. Nick and Jordan are dating. They share kisses and a sexy duet. The interesting thing is that they still read as queer coded. Add a prissy, campy performance from Jeremy Jordan’s Gatsby and you’ve got enough to feed the queer theorists. Is this all a comphet delusion?
Howland and Tysen have composed an excellent I Want song for Gatsby titled “For Her.” It’s the sort of “Part of Your World,”“Santa Fe,” “Corner of the Sky” number that theater kids obsess over. The teen girl audience screamed for Jordan like he was a rock star. While Welch’s score was more consistent, it lacked an obvious breakout hit.
With the Broadway Gatsby transferring to the UK, the future of the ART show is uncertain. What are your favorite adaptations of The Great Gatsby? What would you want from a stage version?