Podcast Summary: MickeyJoTheatre Reviews "The Great Gatsby" Musical

Podcast Information:

• Title: MickeyJoTheatre
• Host/Author: MickeyJoTheatre (Mickey-Jo)
• Episode: The Great Gatsby (London Coliseum, West End & Broadway Theatre, Broadway) - ★★★ REVIEW
• Release Date: April 27, 2025

Introduction

In the latest episode of MickeyJoTheatre, host Mickey-Jo delves into his comprehensive review of the musical adaptation of F. Scott Fitzgerald's classic novel, The Great Gatsby. With firsthand experience across multiple productions—including the world premiere at Papermill Playhouse in New Jersey, Broadway performances, and the recent West End debut at the London Coliseum—Mickey-Jo offers an in-depth analysis of the show's strengths and shortcomings.

"I'm a professional theatre critic here on social media... I travel around the world seeing as much theatre as possible and then I talk about it on the Internet." [00:00]

Overview of the Musical

The Great Gatsby musical, featuring a score by Jason Howland and Nathan Tyson with a book by Kate Kerrigan, first premiered on Broadway last year. The production has recently transitioned to the West End, aiming to captivate both American and international audiences with its lavish staging and dynamic performances.

Mickey-Jo recounts his initial skepticism based on press calls and rehearsals but was pleasantly surprised after witnessing the show multiple times.

"This is a good show. I'm not here to tell you that this is not a good show. It is entertaining as hell and it is crowd pleasing." [00:02]

Critique of the Musical Material

Mickey-Jo praises the production's ability to deliver a visually stunning and entertaining experience but criticizes its superficial adaptation of the novel's deeper themes.

• Score and Lyrics:

  • The musical blends contemporary sounds reminiscent of 90s R&B with occasional nods to the 1920s, aiming to parallel Gatsby's extravagant parties with modern club vibes.

  • "New Money" stands out as both catchy and choreographically engaging but exemplifies the show's mixed execution in balancing energy with meaningful exposition.

    "There's some really great stuff in this song. When Jordan sings the line, 'the rich are riche and the money is nouveau,' I love that. It's playful. I think it's witty." [Transcript excerpt]

  • Ballads like "For Her" and "Past is Catching up to Me" receive mixed reviews. While they showcase strong vocal performances, they often fail to add depth to character development.

    "For Her... really deserves to live on in the pantheon of great musical theatre songs." [Transcript excerpt]

• Narrative Adaptation:

  • The adaptation simplifies the novel's complex relationships and emotional nuances, rendering characters and their motivations less profound.

  • Key emotional moments, such as Daisy's reaction to Gatsby's lavish shirts, lack the depth portrayed in the original story, resulting in a more straightforward and less impactful narrative.

    "It's also browsing on the Pink with a tragic moment in the original... and it's so hard to discern, I think, is a real shortcoming of that particular moment of exposition." [General sentiment from transcript]

Design, Direction, and Choreography

Mickey-Jo commends the production's aesthetic achievements, highlighting the exceptional design and energetic choreography that contribute significantly to the show's appeal.

• Set and Projection Design:

  • The London Coliseum production impresses with its seamless integration of scenic and projection elements, effectively shifting between the opulent settings of Long Island and the desolate Valley of Ashes.

    "The scenic and projection design... looks like a million bucks or a million pounds indeed, on stage." [Transcript excerpt]

• Costume Design:

  • Linda Cho's Tony Award-winning costumes brilliantly differentiate characters, emphasizing class distinctions through attire.

  • Daisy's ethereal costumes versus Gatsby's ostentatious outfits visually represent their contrasting personas.

    "Both Tom Buchanan and Jay Gatsby are both stylishly attired, but there is such a difference... which I think is a brilliant, purposeful choice." [Transcript excerpt]

• Choreography:

  • Dominique Kelly's choreography infuses contemporary energy while paying homage to classic styles, adding dynamism and excitement to the performances.

    "It is dynamic, it is energized. It's great to watch." [Transcript excerpt]

• Direction:

  • Director Mark Bruni is praised for his passionate staging and emotional direction, though some narrative choices, such as Gatsby's introduction, are critiqued for lacking intrigue.

    "They are razzle, dazzling you... This is an amazing show and there's a huge amount of entertainment value in the show." [Transcript excerpt]

Performance Reviews

Mickey-Jo provides detailed evaluations of the key performances, discussing how each actor embodies their character's complexities and shortcomings.

• Jay Gatsby:

  • Jamie Moscato is appreciated for capturing Gatsby's passionate outsider essence, though his youthful appearance and occasionally superficial portrayal slightly detract from the character's mystique.

    "He really captures that passionate young outsider quality. I mean, Gatsby is very Romeo from Romeo and Juliet, really." [Transcript excerpt]

• Nick Carraway:

  • Corbin Blue's portrayal of Nick is seen as charismatic but somewhat deviates from the introspective and observant nature demanded by the character, reducing his role to more of a comedic presence.

    "Nick... he's sort of just taken aback and shocked and flummoxed the entire time or falling in love with Jordan." [Transcript excerpt]

• Daisy Buchanan:

  • Frances Maily McCann brings a nuanced performance, especially in songs like "Beautiful Little Fool," which conveys Daisy's constrained choices as a woman.

    "Frances feels like the version of Eva after Chicago, and Eva still feels a little bit too naive." [Transcript excerpt]

• Myrtle Wilson:

  • Rachel Tucker's portrayal is lauded for adding depth and wisdom to Myrtle, contrasting with previous performances that lacked such layers.

    "Rachel's Myrtle feels perhaps a little bit too wise because she seems canny to the way that the world works." [Transcript excerpt]

• Tom Buchanan:

  • John Robbins delivers a more subdued and less villainous Tom compared to Broadway's depiction, offering a different dynamic to the character's interactions.

    "He doesn't feel like this arrogant, macho college football star quite as much as he does with the casting on Broadway." [Transcript excerpt]

• Jordan Baker:

  • The portrayal of Jordan Baker is critiqued for lacking the novel's intended depth, leaning instead into a more superficial, "Girl Boss" archetype that fails to resonate emotionally.

    "She just hints at regret about it. And then Nick breaks things off with her. I think the problem here goes along with this idea of trying to make the show feel contemporary." [Transcript excerpt]

Finale and Production Staging

The show's finale, particularly the staging of Gatsby's death, receives mixed reactions. While the visual contrast of blood on the glamorous 1920s set is impactful, some staging choices—such as Gatsby tumbling into the orchestra pit—have been met with unintended humor from audiences.

"The image of blood still on the stage is a delicious little contrast there." [Transcript excerpt]

Mickey-Jo acknowledges the technical prowess of the production but notes that some dramatic moments lose their intended gravity due to unconventional staging.

Conclusion

Mickey-Jo concludes that while The Great Gatsby musical excels in its visual spectacle, energetic performances, and overall entertainment value, it falls short in delivering the novel's emotional depth and complex character dynamics. Rated with three stars, the show is deemed a worthwhile experience for theatre enthusiasts seeking a dazzling and accessible production, though purists and those longing for a more profound adaptation may find it lacking.

"Is it the most meaningful? Is it the most emotionally impactful? Is it the most thought provoking musical that you're going to see on stage? No to any of those things. It is, however, legitimately entertaining." [Transcript excerpt]

Mickey-Jo encourages listeners to experience the show themselves and share their own perspectives, emphasizing the importance of personal judgment in theatre criticism.

"Make sure to subscribe right here on YouTube with the notifications turned on so you don't miss any of my other upcoming reviews or following me on podcast platforms or other social media platforms." [Transcript excerpt]

Key Takeaways:

• Strengths: Stunning design, energetic choreography, and strong vocal performances make the musical visually and auditorily impressive.
• Weaknesses: Superficial adaptation of the novel's themes, inconsistent character portrayals, and certain narrative choices diminish emotional impact.
• Recommendation: Ideal for audiences seeking an entertaining and visually captivating show, but may not satisfy those looking for a deeper or more faithful rendition of The Great Gatsby.

Notable Quotes:

• "This is a good show... It is flashy and it's bright and it's colorful and it's passionate." [00:02]
• "The rich are riche and the money is nouveau." [Timestamp within critique of "New Money"]
• "They are razzle, dazzling you... This is an amazing show." [During praise for design and choreography]
• "Nick... he's sort of just taken aback and shocked and flummoxed the entire time." [On Corbin Blue's portrayal of Nick]

Final Thoughts

MickeyJoTheatre's review presents a balanced perspective, acknowledging the musical's undeniable flair and entertainment value while critically examining its shortcomings in faithfully translating the novel's intricate narrative and character development. Whether you're a fan of the original literary work or a theatre-goer seeking vibrant productions, this review offers valuable insights to inform your decision to see The Great Gatsby on stage.