THE GREAT GATSBY
Blue Orange Theatre, Birmingham, Sunday 22nd January, 2023
Joe Landry’s adaptation of the F. Scott Fitzgerald classic novel takes place in a New York radio theatre in the 1920s. We meet a troupe of half a dozen actors who will perform the play, taking on all the roles and the sound effects between them. This kind of setting allows the staging of material that would otherwise be too expensive, relying on the audience’s imagination to picture Gatsby’s vast mansion, for example. It also makes the staging of action scenes (the car accident) within reach.
Our host is Freddie Filmore, played by Louis McCoy who, as well as taking on the roles of Gatsby and Wilson is an excellent pianist; Jake Laurents (Thom Stafford, no relation) plays the story’s narrator Nick; Jason Adam brings humour to the role of Tony Hunter, the kind of actor who reads the stage directions as well as the dialogue, playing Tom Buchanan. Gatsby’s love interest is portrayed by Jessica Melia as Sally Applewhite; Terri-Leigh Nevin’s Lana Sherwood gives us an excellent Myrtle Wilson, complete with squeaky Noo Yoik accent; and Charlotte East’s Nellie North adds a touch of class as Jordan Baker. (I hope I’ve got everyone’s names right!)
All six prove their versatility in characterisation and demonstrate exceptional vocal skills. Director Alexandra Whiteley gives us plenty of visuals too in what was in danger of being a rather static affair. To see the cast create highly effective sound effects is a marvel to behold, especially the horse noises of Jessica Melia and the car noises of Charlotte East and Jason Adam.
There is some comedy with Jason Adam’s Tony getting things wrong, and I would have liked more of this tension, the pressure to get things right and not to miss cues. The action is interrupted for commercial breaks, where the cast sing the jingles. Illuminated signs encourage us to applaud when appropriate – not that I need much encouragement.
The second half allows the Fitzgerald to come to the fore for the dramatic and tragic denouement, using the techniques the cast have demonstrated so amusingly in the first, but the whole thing ends on a cheerful note with a joyful Charleston to see us off.
☆ ☆ ☆ ☆