THE HANGOVER REPORT – The new musical adaptation of THE GREAT GATSBY streamlines and reframes Fitzgerald’s novel, for better and for worse

Noah J. Ricketts, John Zdrojeski, Eva Noblezada, and Samantha Pauly in Paper Mill Playhouse’s production of “The Great Gatsby” (photo by Evan Zimmerman).

Last night, I took a field trip out to Millburn, NJ to check out the musical adaptation of The Great Gatsby at the Paper Mill Playhouse. Based on F. Scott Fitzgerald’s popular literary classic, the new musical features a book by Kait Kerrigan (The Mad Ones) and a score by the writing duo of Jason Howland and Nathan Tysen (Paradise Square). In their adaptation, the show’s creators have boldly streamlined Fitzgerald’s iconic book, in effect flattening the author’s nuanced language in order to shapen the musical’s theatrical storytelling, ultimately for better and for worse. 

In place of the richness and poetry of the admittedly unwieldy source material, we get an efficiently constructed piece of musical theater that skillfully condenses (and at times, modifies) the novel to fit the mold of a big commercial musical. Although I was left frustrated at times — for example, the downplaying of Jordan’s queerness in favor of fabricating character’s romance with Nick — there’s no denying the confident forward thrust of Kerrigan’s book. But by decommissioning Nick as the show’s thoughtful narrator and instead focusing mainly on the tragic love story between Gatsby and Daisy, the work’s seductive mystique largely evaporates. Howland and Tysen’s score is a pleasant effort, even if its generic Broadway pop sound clashes with the work’s intoxicating Roaring 20s setting. As such, in overall tone, the musical has more in common with Baz Luhrmann’s hyperactive 2013 film than it does with Fitzgerald’s work. The end result is a reframed version of The Great Gatsby that alters the very fabric of the underlying material — a conscious decision which may leave purists dismayed.

Marc Bruno (Beautiful) directs the handsomely designed world premiere production competently, deftly keeping things moving from scene to scene. The scenic design — an ideal balance between physical sets and video projections — beautifully evoke Prohibition-era New York and is admirable in its efficiency. Leading the cast are Jeremy Jordan (Newsies) and Eva Noblezada (Hadestown) — both are sensitive, soulful actors and sensational vocalists — as Jay Gatsby and Daisy Buchanan. Thankfully, their chemistry is captivating, and it forms the emotional heart of the musical. As Nick Carraway and Jordan Baker, the attractive Noah J. Ricketts and Samantha Pauly (Six) do their best with their curiously re-conceived parts.

To be sure, the product currently on display at the Paper Mill is a work in progress. I’d be fascinated to see how the show’s creators continue to shape the show as it takes its next steps after the Millburn run.

SOMEWHAT RECOMMENDED

THE GREAT GATSBY
Regional, Musical
Paper Mill Playhouse
2 hours, 30 minutes (with one intermission)
Through November 12

Categories: Off-Broadway, Theater

Leave a Reply