Podcast Summary: Why some Critics Hated THE GREAT GATSBY | Mickey-Jo's Thoughts on the Show's ★ Review in the West End

Podcast Information:

• Title: MickeyJoTheatre
• Host: MickeyJoTheatre (Mickey-Jo)
• Episode Title: Why some critics hated THE GREAT GATSBY | Mickey-Jo's thoughts on the show's ★ review in the West End
• Release Date: April 30, 2025
• Description: Mickey-Jo reviews the latest theatrical productions from West End, Broadway, Off-Broadway, Off-West End, Edinburgh Fringe, and globally. As a leading voice in theatre criticism, he engages his audience with in-depth analyses, interviews, and lifestyle content related to the theatre world.

Introduction

In this episode, Mickey-Jo delves into the contentious reception of the musical adaptation of F. Scott Fitzgerald's "The Great Gatsby." With lavish sets, stunning costumes, and strong performances underpinning the production, it puzzled many when the show received a notably harsh one-star review from Arifa Akbar of The Guardian. Mickey-Jo explores the reasons behind this disparity in critical reception, comparing London’s critiques with those from Broadway and addressing the broader implications for theatre criticism.

Notable Quote:

"When a show has extensive lavish sets, beautiful award-winning costumes, and strong performances, how the hell does it end up with a one-star review?" [00:00]

Overview of "The Great Gatsby" Musical

Mickey-Jo provides context about the musical adaptation of "The Great Gatsby," highlighting its dual presence on Broadway and in London's West End at the Colosseum Theatre. Despite grand production elements and a dedicated fan base, critical reception has been polarizing. Mickey-Jo himself rated the London production three stars after multiple viewings and hints at deeper discussions prompted by his own review.

Notable Quote:

"I shared a three-star review of not only the London production but also the show as a whole, having seen it four times in its life." [00:58]

Focus on Arifa Akbar’s One-Star Review

The centerpiece of the episode is Arifa Akbar's scathing one-star review in The Guardian, titled "The Great Gatsby. A New Musical Review: What a Swell Party." Mickey-Jo reads and breaks down the review, highlighting Akbar’s main criticisms:

• Incongruent Adaptation: Despite the potential of Fitzgerald's novel for musical adaptation, the show fails to capture the novel’s emotional depth and critical undertones.
• Superficial Production Values: While applauding the spectacular sets and costumes, Akbar argues that these elements overshadow the narrative's substance, rendering characters two-dimensional.
• Weak Musical Score: The score is criticized as "trite, tinkly, and bombastic," lacking the emotional resonance necessary for the story’s themes.
• Tonality and Depth: The musical’s upbeat and flashy presentation clashes with the novel’s bleak and critical exploration of the American Dream.

Notable Quotes:

"It does not transpose convincingly here, though not for the lack of size or volume." [Detailed review segment]

"Dominique Kelly's choreography gives period moves, Beyoncé-style inflections, but it looks sterile for the lack of emotional drama around it." [Review segment]

"This production encapsulates the worst of peacockingly splashy entertainment, the kind whose soul has been suctioned out in the making." [Closing remarks of the review]

Audience and Critical Reactions

Mickey-Jo discusses the varied reactions to Akbar's review:

• Supporters of the Show: Many audience members and theatre enthusiasts defend the musical, citing strong performances, impressive set designs, and engaging choreography.
• Critics of Akbar’s Review: Some argue that the one-star rating undermines the show's evident strengths and fails to appreciate the creative efforts behind the production.

Mickey-Jo emphasizes the importance of critical discourse in theatre, advocating for a balanced analysis that considers both the technical merits and the narrative depth of a production.

Notable Quote:

"Goodness knows, we see Shakespeare reinvented seven different ways to choose day. We see concept interpretations of these things and, you know, they have to be talked about in relation to their basis in relation to the source material." [Discussion on adaptation and critical expectations]

Comparative Analysis with Other Reviews

To provide a comprehensive view, Mickey-Jo compares Akbar's review with other London critics and Broadway responses:

• The Stage: Gave a four-star review, lauding the spectacle and seductive elements of the production.
• WhatsOnStage.com: Offered a three-star rating, noting the show's slickness but criticizing its lack of depth.
• Telegraph’s Claire Alfrey: Awarded two stars, pointing out the superficial romanticization of the narrative.
• Timeout’s Andre Lekowski and Clive Davis for The Times: Provided mixed to negative feedback without star ratings, further highlighting the polarized critical landscape.

On Broadway, reviews mirrored the mixed sentiments:

• The New York Times (Laura Collins Hughes): Criticized the show for prioritizing entertainment over the novel’s moral complexities.
• Broadway News (Brittany Samuel): Dismissed the musical as a superficial echo of the Jazz Age.
• Timeout’s Adam Feldman: Offered a mixed review, acknowledging the romance but questioning its depth.

Notable Quote:

"The mood is simply too perky, the pace brisk and breezy, the story's heart subsumed by the mission to put on a high-octane musical." [Analysis of Akbar’s critique]

Mickey-Jo’s Perspective on the Reviews

Mickey-Jo articulates his agreement with Akbar’s one-star rating, emphasizing that the review accurately reflects significant shortcomings in the adaptation:

• Misalignment with Source Material: The musical’s focus on extravagance and spectacle detracts from the novel’s critical examination of societal issues.
• Character Depth and Motivations: Key characters lack the emotional and psychological complexity found in Fitzgerald’s work.
• Narrative Execution: The adaptation fails to convey the novel’s underlying themes, resulting in a superficial portrayal of intricate relationships and societal critiques.

He also addresses the subjective nature of theatre criticism, acknowledging that while some may rate the show highly, the fundamental issues highlighted by Akbar justify the low rating.

Notable Quote:

"Good criticism. It can't just be like, were the vocals good? Was the lighting atmospheric? Was the set design effective? I read the same things over and over again in a lot of these reviews." [Mickey-Jo’s stance on comprehensive critique]

Implications for Theatrical Adaptations

The episode underscores the challenges inherent in adapting classic literature into musicals. Mickey-Jo argues that successful adaptations must balance creative spectacle with faithful representation of the source material's themes and character complexities. He advocates for critics to engage in deeper analyses that consider how well a production captures and conveys the essence of its literary origins.

Notable Quote:

"Is any version of the Great Gatsby that really focuses on the parties missing the whole point?" [Reflection on adaptation fidelity]

Conclusion

Mickey-Jo concludes that while "The Great Gatsby" musical boasts impressive production elements, it falters in delivering the emotional and thematic depth required to truly honor Fitzgerald’s novel. The polarized reviews highlight the subjective nature of theatre appreciation and the importance of nuanced criticism that goes beyond surface-level assessments. Mickey-Jo reaffirms his commitment to fostering meaningful discussions within the theatre community, encouraging both critics and audiences to engage thoughtfully with adaptations of beloved works.

Notable Quote:

"That's what good criticism is about. It can't just be like, were the vocals good? Was the lighting atmospheric? Was the set design effective." [Final thoughts on the nature of criticism]

Additional Insights

Throughout the episode, Mickey-Jo emphasizes the need for theatre critics to consider both technical brilliance and narrative substance. He illustrates how "The Great Gatsby" musical serves as a case study for the pitfalls of prioritizing spectacle over story, urging future productions to strive for a harmonious balance that honors the integrity of their source material while offering innovative and engaging performances.

Notable Quote:

"A musical has many more tools in its arsenal than a book on paper, literally. Not only that, any visual adaptation, whether it's on stage, whether it's on screen, frees itself from all of that description that a book has to do in order to evoke a scene." [On the potential of musical theatre]

Final Thoughts: Mickey-Jo's analysis provides a comprehensive examination of "The Great Gatsby" musical's critical reception, offering valuable insights into the dynamics of theatre criticism and the complexities of adapting literary classics for the stage. His balanced approach encourages listeners to engage critically with both the strengths and weaknesses of theatrical productions, fostering a deeper appreciation for the art form.