The name Gatsby is synonymous with glitz, glam and grandiosity. Of course, behind that splendiferous picture of the Roaring Twenties is a tragedy. Lying just below the excess, partying and wealth is the beating heart that powers F. Scott Fitzgerald’s classic piece of literature: a critical examination of the illusion of upward mobility and the American Dream.
The signature grandeur is fervently embraced in the musical adaptation of “The Great Gatsby,” but so large and bright is the Broadway treatment that the darker, grittier edges of the story can be lost in the overexposure of the flash.
“The Great Gatsby,” a staple of American literature that is often included on high school reading lists, takes place in 1922. Newly returned from the war, a young Nick Carraway moves from the Midwest to New York City, where he finds lodging in a small cottage abutting the estate of the mysterious Jay Gatsby, an elusive man who hosts legendary parties. Nick soon learns that Gatsby’s displays of wealth have an ulterior motive: to win back an old love that was curtailed by the war. Gatsby is woefully in love with Nick’s cousin, Daisy; however, she is married to Tom Buchanan, an old-money, Yale graduate who is no stranger to infidelity. Aided by Daisy’s friend Jordan, Nick coordinates a meeting between the two star-crossed lovers. Gatsby believes that their past love affair can be repeated, but is his new-money wealth enough for Daisy?
The 95-year copyright term on Fitzgerald’s 1925 novel expired in 2021, making it free to adapt. The musical, with music by Jason Howland, lyrics by Nathan Tysen and a book by Kait Kerrigan, opened on Broadway in 2024 under the direction of Marc Bruni. It received only one Tony nomination for Linda Cho’s costume design but ended up taking home that award at the end of the night.
Cho’s art-deco beading, sequins and boxy suits are lavish bits of eye candy. So are the extensive, intelligent scenic and projection designs by Paul Tate dePoo III. Numerous flats are maneuvered about the stage, projected with different elements to create various locales with great depth, from the wealthy, sprawling Long Island estates to the luxurious Plaza in New York City, to the desolate, industrial Valley of Ashes that lies between the two.
The depictions of Gatsby’s parties are as explosive and exciting as the marketing material for the show promises. Dominique Kelley’s choreography is bubbling over with energy, entertainingly complementing the party scenes with rich visual stimuli – on top of the sequins, the projected fireworks, the gilded, art-deco proscenium arch and the lively light design by Cory Pattak.
It is a visual feast, and the music is, likewise, a feast for the ears. Many of the songs are sweeping ballads with ample room for vocal ostentation. These effectively tug at the heartstrings, especially the ballad, “For Her,” in which Gatsby professes that he has laid every brick in his life for Daisy. While emotionally influential, the grandness of Daisy and Gatsby’s musical numbers can tend to blend together.
Playing Jay Gatsby is Jake David Smith. The Gatsby on stage is not as mysterious as the novel version, nor as charismatic as the version portrayed by Leonardo DiCaprio in Baz Luhrmann’s 2013 film, but he is just as likable. Smith’s youthful, excitable portrayal gives Gatsby a vulnerability that is entirely endearing; this is not a man who was born into money, but a broken man who is playing a role to win over a woman.
In the role of that woman is Senzel Ahmady. Ahmady’s voice is crystalline, and her delivery of dialogue speaks to the character’s wealthy background and priorities. While the creators included commentary on the limitations faced by women during this time period, Daisy’s rather one-note portrayal does her penultimate actions no favors.
Alongside Gatsby and Daisy’s sweeping love songs is a retinue of numbers that never stray from the familiar musical theater tempo, but they are all still delivered with skill and great entertainment.
Nick, the novel’s narrator, is portrayed by a sweet Joshua Grosso. Nick is modest, shy and absolutely out of his depth. Grosso’s comedic timing is impeccable – he nails all of Nick’s naivety, making for an enjoyable narrator figure.
Daisy’s friend Jordan Baker is brought to life by the talented Leanne Robinson, a vocal powerhouse. She infuses life and energy into the musical’s popular song “New Money.” Jordan, a flapper who flinches at the mention of marriage, begins to date Nick. The relationship embraces a comedic air that brings levity to the narrative.
This levity is enjoyable, but it is also somewhat counterintuitive to the story’s overarching nature, which is as depressing as its disheartening criticisms of wealth and social divides. This is not aided by the show’s villains and supporting characters, who fall into tropes.
While Will Branner’s portrayal of Tom is properly volatile and intimidating, his tacky, whiny mistress, Myrtle, played by Lila Coogan, is a stereotypical figure. The same can be said for Myrtle’s husband, George, played with good-old-boy energy by Tally Sessions. Slipping into Disney-villain territory is Edward Staudenmayer’s portrayal of Meyer Wolfsheim, Gatsby’s criminal business partner, whose song “Shady” employs brimmed, eye-obscuring hats and swishing trench coats.
“The Great Gatsby” is no stranger to adaptations, and as far as adaptations go, Fitzgerald’s classic has large, Jazz Age shoes to fill. While “The Great Gatsby” musical may be a flashy, glamorous adaptation that softens the darker edges of the story, the party has an undeniable, entertaining appeal.
“The Great Gatsby” runs through June 28, 2026, at Playhouse Square,1501 Euclid Avenue, Cleveland. Visit www.playhousesquare.org or call (216) 241-6000 for tickets, $58-174.
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