The interpretation of the story is certainly intriguing, if not fully formed.
With F. Scott Fitzgerald’s ‘The Great Gatsby’ having now entered public domain, the theatre world across the pond has begun jostling to put out their own stage interpretation of the enigmatic novel about the American Dream. Work in Progress Theatre & GKT Musical Theatre Society’s own take, ‘Dinner with Gatsby’, reimagines the events of the novel over the course of an evening at Jay Gatsby’s mansion. An intimate dinner is taking place for Nick Carraway’s 30th birthday, and the guest list is small but significant. There’s who you would expect – Nick’s beautiful cousin Daisy, locked in an emotional affair with the mysterious millionaire Gatsby while her abusive husband, Tom, looks on. Jordan Baker, Daisy’s best friend and cynical singleton. A surprising addition to this cast is Myrtle Wilson, Tom’s lover – in the novel, she never visits the eponymous Gatsby mansion. Another element of the story not covered in the novel? Nick’s secret love for Gatsby, and Jordan’s secret love for Daisy. As the relationships are established and the champagne flows, it’s sure to be an evening full of fireworks.
Erica Hartley, Archie Alexander, and Joe Ash’s interpretation of the story is certainly intriguing, if not fully formed. The queerness of the characters of ‘The Great Gatsby’ has been oft-discussed, but not oft-performed. Accompanied by original songs by Hartley and Alexander, the cast attempt to flesh out this alternate storyline. Charlotte Flynn plays a formidable Nick, riffing off of Rheanna Arbon’s green-suited Gatsby and Madeleine English’s sensitive Jordan expertly. Georgia McNeill, while an impressive soprano, sometimes gets lost in her interpretation of Daisy – at most points the ingenue that wilts under the oppression of her husband’s control, only to make a sharp – and confusing – 180-turn into cruelty towards Myrtle near the end of the second half. Sendhilen Ramen, who plays the aforementioned oppressive husband Tom, hits the marks of his character’s violent nature well, but comes across as wooden in some of his monologues. An unexpected star, however, is Mariam Can’s Myrtle – decked out in a sparkling gold gown, her strong belt carries her character beyond just being the other woman. The act one finale, in which she and Daisy sing a rousing duet about their love of Tom, is a showstopper.
Indeed, the original music is the best part of this production – which is why I found myself disappointed to not hear more of it. With a four piece band expertly directed by Rohan Godfrey and Maria Hallows, the clever lyrics and strong vocals are drowned by some awkward traverse staging and scenes that drag. I was very impressed by the quartet in which Gatsby, Daisy, Jordan and Nick all sing about their love for one another, and a duet at the end between Nick and Jordan in which they find comfort within one another about their mutually misunderstood sexualities. This aspect of the performance very much piqued my interest – and so I wish it had been more of an element in the plot. All in all, the cast and crew are clearly passionate about the show that they put on – I would love to see more original work centering queer stories from them, but without the clunky 1920’s context.