Review: The Great Gatsby at The Playhouse

Review by Grace Swadling

It’s very easy to romanticise the past - nostalgia can be a trap that even the best of us can stumble into. But can you ever recreate the past, truly? This is a question at the heart of The Great Gatsby, presented by Shake & Stir Theatre Co, in collaboration with Queensland Theatre Company. Audiences are invited into an indulgent and opulent world of the 1920’s prohibition era, where the jazz flowed almost as freely as the liquor did. Fans of the original novel by F. Scott Fitzgerald and the more recent, strikingly visual movie adaptation by Baz Luhrmann will be happy to see that the vibrancy and danger of this world has been preserved in this new re-telling. 

Co-directors Daniel Evans and Nick Skubij, alongside co-adaptor Nelle Lee, have assembled a strong cast to bring to life the story of the mysterious and enchanting millionaire Jay Gatsby, a man who has everything he wants - except the only woman he’s ever loved. The story unfolds over a hot summer in 1922, narrated by young veteran Nick Carroway, who becomes embroiled in his neighbour Gatsby’s desperation to reclaim his lost love, Daisy Buchanan, who now lives across the water with her husband. From his lawn, Gatsby watches the blinking green light at the end of her dock – visible, but forever just out of reach.

Ryan Hodson grounded the whole show as Nicky Carroway, the returned soldier from the mid-west, whose innocence in the face of brutal class division and the wretched behaviour of the rich, mirrors the audience’s experience. We see this bold new world through his eyes and his transition from idealism to despair throughout the production was performed with quiet intensity and clarity. 

Jess Vickers shone as Daisy Buchanan, bringing the perfect amount of fragility and sadness to Daisy, even as she sparkled in beautiful gowns and breathy exclamations. Shiv Palekar as the titular Gatsby was both enigmatic and charming - although at times it felt as though leaning in more to the deep desperation, the well of dark inside Gatsby, would have enhanced this production. Jeremiah Wray was excellently unlikeable as Tom Buchanan, whose vile diatribes on race politics and the treatment of both his wife and his mistress was a stark reminder of the reality of the socio-political context and gender dynamics present in the 1920s. 

Standouts of the night include Libby Munro as Jordan Baker, whose chemistry with Hodson was palpable, and who effortlessly exuded power and sensuality in a character who refuses to conform to the demands of society. Nelle Lee not only co-adapted but also showcased lush comedic timing, as well as real vulnerability, as Myrtle Wilson. A special mention must be given to Loren Hunter, whose incredible singing voice was perfectly placed at key moments throughout the show. Rounding out the cast was Ethan Lwin, Donné Ngabo, Rachel Nutchey, Brigitte Freeme and Sean Sinclair, who helped bring the extravagance of the world to life. 

Visually, this production is stunning. The set is aesthetically pleasing and constantly moving with smooth and practised set changes. The whole stage felt alive with movement and colour. From start to finish, it is vibrant and energetic, thanks to Set and Costume Designer Christina Smith, as well as Lighting Designer Trent Suidgeest. Smith’s costumes are bold and exciting and perfectly capture both the spirit and sexiness of the Jazz Age. Suidgeest’s lighting design was technically brilliant, employing brightness and saturated colour but also moments of shadow, of darkness and of stillness; allowing the tragedy of the era and the characters to come through. This is particularly powerful in the moments where Nicky’s painful memories from the war punctures through the glittering brightness, serving as an emotional antithesis to the world of excess and wealth around him.

Movement Director, Choreographer and Intimacy Coordinator Nerida Matthae created glittering and spectacular dance scenes and managed to utilise a 12-person cast in a way that made the expansive space feel full and fun, especially in the cleverly-staged party scenes. Composer and Sound Designer Guy Webster combined vintage 1920’s jazz with contemporary sounds, and special effects such as microphone reverb and pre-recorded whispers enhanced the theatricality of this production.

The production maintains a distinctively contemporary edge without ever overshadowing the timelessness of a classic 1920s aesthetic. The pacing of this show is solid, although at times it did feel as though certain scenes could have been tightened. The emotional depth of the story was sometimes overlooked in favour of spectacle; however poignant moments still managed to break through the glitz. These instances served as a necessary reminder that beneath the shimmering surface lies a very tangible human ache. The result is a slick, glitzy production with a dark pulsating undercurrent, that reveals the sharp-edged reality of nostalgia for ‘simpler times.’ 

Ultimately The Great Gatsby presents audiences with a warning, not a love story. Gatsby’s desperate attempts to recreate the love he and Daisy had collapse under the weight of reality - the people they were sadly cannot coexist with the people they have become. The tragedy of this tale is a haunting reminder that Fitzgerald’s critique of the human condition remains relevant, even now. The production proves that Gatsby’s tale is not merely a relic of the 1920s - it is a mirror held up to our own era of excess and the consequences of the carelessness of the immoral elite. It is a sobering, stylish, and exciting piece of theatre that lingers long after the green light fades.

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