Review: Gatsby at the Green Light GATSBY AT THE GREEN LIGHT – The Studio, Sydney Opera House

Review by Scott Whitmont

Returning for another holiday season is Craig Ilott and Stuart Couzen’s brilliantly conceived, high-energy entertainment, Gatsby at the Green Light. The Opera House’s Studio is transformed into a Jazz Age night club/bar inspired by the sort of over-the-top parties held by F. Scott Fitzgerald with the best entertainment possible: a cabaret of song, dance and performance with unrivalled talent – sassy, naughty, inspiring and fun on steroids.

As the lights dim, waiters serve patrons and move expertly between the slightly cramped cabaret tables. The music roars and at once, they transform into our ensemble backup dancers, spreading through the throng – sexy, dynamic and perfectly synchronised. In tandem with the impressive solo acts, this troupe is integral to the evening – the glue that ties the many performances together. All eight of these dancers deserve acclaim, clearly expertly guided by Choreographer, Lucas Newland.

From the start, we realise that we’re in for a treat. Thomas J Egan’s tap-dancing mastery is simply dazzling, whilst Head Barman, Florian Brooks wows repeatedly with his incredible juggling and gravity-defying balancing acts. (Just how many hours a day must these men practice?)

Our charismatic club hostess, Bettie Bombshell, welcomes patrons warmly, and soon shows she has further talents of her own – giving the best burlesque performance imaginable, complete with fire-eating and a hilariously raunchy striptease number leaving the audience begging for more.

Aerial acrobatics play a big part of the evening, but each act with its own impressive uniqueness. 

Oscar Kauffman, with his dapper plaid suit and bowler hat, amazes and charms. He dances proficiently in the air with his coat-stand, making it all seem so effortless, gradually discarding his clothing pieces.

The Seductress, Miranda Menzies, is an extraordinary contortionist and dancer who astounds us not only with her artistry, but with the fact that most of the time, she’s suspended above us by her hair, incredibly managing to still keep a smile on her face! 

The evening’s action is overseen by our suave host, Gatsby (Spencer Craig), whose character’s presence seems somewhat superfluous until towards the end of the show when he finally gets to demonstrate his own aerial acrobatics prowess along with limber paramour Daisy (Caitlin Thomson-Moylan). Her multiple act appearances are simply mesmerising, showcasing her strength and technical brilliance. As the younger Gatsby and Daisy with love and yearning clearly palpable, Jacob McPherson and Mariia Borysiak are equally stunning.

Accompanying multiple acts is our soul singer, Odette (Georgia Sallybanks) – a clear star of the evening and certainly deserving her own solo concert. With rich and sensuous tones, she adds heart and beauty with perfect control. Hats off also to Music Director Kim Moyes for his soundtrack choices and adaptions – vigorous and exciting.

Which act is the best? One really couldn’t say. Each is as stupendous as the one before. It’s all so hypnotising, one simply doesn’t know where to look.

Special mention must go to Lighting Designer Matt Marshall. Certainly, the lighting operator must be in need of a Valium after navigating the hundreds of lighting queues for perfectly timed and incredibly effective spots, beams and lighting effects that help each act shine.

In the stressful and scary world we are all currently navigating, abandon everyday realities and enjoy the sheer revelry, sophistication and talented celebration of Gatsby at the Greenlight. An extraordinarily exhilarating experience.

Image Credit: Daniel Boud