The Great Gatsby

The Roaring Twenties was an era of excess, with extremes of both wealth and poverty. Prohibition was in full force and the divide between the classes was evident. F. Scott Fitzgerald wrote of the American dream and a man who came from nothing to make his imaginings real.

The Great Gatsby chronicles the life of self-made millionaire Jay Gatsby as told by his neighbour Nick Carraway (Will Cox). Director Rob Croser should be applauded for his perfect casting of Cox. The ease with which he moves around the vast space and his clear, precise manner as he delivers his many lines holds this production together. He is engaging, magnetic and sincere. The same can be said for Lindsay Prodea as the play’s hero, Jay Gatsby. He is charismatic in his portrayal, giving a performance that reveals the young boy inside the man, full of dreams not yet fulfilled.

The set design is grand in scale with a stark white façade. A sweeping staircase and checkerboard tiling gives the impression of opulence, but as the action progresses you do wish for that splash of colour in this place, that never comes. Perhaps this was the point, the audience being asked to imagine a world of wealth just like our leading man, to dream up an existence in our mind’s eye?

Costumes, hair and make-up were divine. It was clear that many hours were spent making and sourcing these gorgeous creations.

Rob Croser’s script highlights some well thought out supporting roles for actors. The object of Gatsby’s affection, Daisy Buchanan (Madeleine Herd), displays just enough naïve charm and beauty to make her likeable. George and Myrtle Wilson, played respectively by Nick Fagan and Kate Bonney, were feisty in their characterisations and captured perfectly the other side of the tracks.

A party would not be complete without music. Ben Francis was a joy as the resident jazz singer and as Jimmy Gatz.

Ensemble cast were strong and doubled up in character roles.

Performing in such a large space meant that at times scenes seemed bare. I longed for more party guests and frivolity.

Direction was solid, however on opening night act one at times lacked pace, losing momentum along the way. With such an elaborate lighting rig it was frustrating to have actors walking in and out of pools of light; if there was a point to the dim lighting I certainly missed it. Rotating set pieces were a clever way to change locations and actors moved these with no fuss.

The opportunity to take a glimpse into the lives of these Long Island residents was revealing, exposing the underbelly of many characters. Had the adaptation not shown these vulnerabilities it would have been impossible to invest in their stories and empathise.

Fans of the book will be pleased with this adaptation. Strong direction and an abundance of talent make this production well worth a look.

Kerry Cooper