“The Great Gatsby” has been adapted countless times from movies to spin-off books, but the new Broadway musical is the best adaptation of the story. This musical brings a fresh take and upbeat music numbers to a classic English class read.
One of the primary issues with F. Scott Fitzgerald’s novel has always been its limited perspective. Since the story is told through Nick Carraway’s eyes, the narrative offers only a surface-level understanding of most of its characters, except for Jay Gatsby. This leaves figures like Daisy Buchanan feeling like symbols rather than fully realized individuals. Nick acts like a disembodied narrator rather than Gatsby’s best and only friend.
The musical, however, expands the narrative’s scope, giving depth and much-needed personality to previously sidelined characters. Daisy, in particular, is given a much-needed emotional arc, making her not just the object of Gatsby’s desire but a tragic figure in her own right. This is shown through her song at the end of the musical, “Beautiful Little Fool.”
Additionally, Jordan Baker is given motivations, and her doomed relationship with Nick is more fleshed out. The show also brings more attention to the lives of Myrtle Wilson and other supporting characters, revealing a broader society obsessed with wealth and status at the expense of genuine human connection. Rather than simply being the tragedy of one man’s lofty dream, this adaptation exposes the tragedy of an entire social class that prioritizes appearances and class over authenticity.
Jeremy Jordan’s portrayal of Gatsby is magnetic, though he has since taken his final bow and relinquished the lead role to Ryan McCartan from “Heathers.” Jordan perfectly balances Gatsby’s charm with his underlying deep insecurities, which add layers to the character. The scene in which he nervously prepares for his reunion with Daisy is hilariously heartbreaking, highlighting his desperation to earn her love. The lyric, “I’m going to walk into the ocean,” from “Only Tea” is one of the musical’s most quotable lines.
Starring alongside Jordan, Eva Noblezada’s Daisy is equally compelling, refusing to be reduced to a mere love interest. This Daisy has underlying strength and an understanding of her limitations, making her more tragic. In the song “Beautiful Little Fool,” she sings about wishing for her daughter to grow up blissfully unaware of the role women are meant to play in society.
The production is visually stunning, from using lavish 1920s-themed costumes to incorporating real fireworks and a large car. It perfectly captures the party scene of the Roaring ‘20s and the lavishness of Gatsby’s parties. Unlike the jazz-infused soundtracks of previous film adaptations, the score leans more toward contemporary Broadway pop, which, while compelling, doesn’t always capture the raw spirit of the Jazz Age. The musical lost in which era it’s trying to comment on, with the music suggesting a damning critique of modern-era consumerism.
However, to breathe life into the supporting cast, the friendship between Nick and Gatsby takes a back seat. Their bond has always been essential to the story, and Nick’s changing perfection of Gatsby is his world, making Gatsby less of a larger-than-life figure and more of a relatable person. The show loses some of this friendship to prioritize the broader cast.
Ultimately, this adaptation of “The Great Gatsby” breathes new life into the classic American. The musical offers a modern interpretation of the classic novel by shifting the focus from one man’s doomed love affair to the broader failings of a materialistic society. Though it may not be a flawless production, it is undoubtedly the most emotionally rich version of Gatsby we have seen yet.