Theatre at its most glamorous
The Great Gatsby has had many an adaptation over the years since its initial publication in 1925. Most notably the 2013 film directed by Baz Luhrmann, starring Leonardo DiCaprio as Gatsby. The most recent adaptation of this iconic novel is by Scar Theatre and features a gender-flipped female Gatsby and multiple moments of physical same-sex intimacy.
A flawless production, this show, staged in The Cockpit, is sleek and well rehearsed. Adapted and co-directed by Mina Moniri and Peter Todd, this production is as good as it gets. Moniri and Todd have done an exceptional job of creating a traditionally naturalistic show for performance in the round, with no bad seats in the house and action viewable from every angle.
Movement director Vanessa Silva has choreographed multiple dynamic sequences to break up the text-heavy material. Despite varying abilities, the ensemble perform these beautifully, using their few numbers to create the ambiance of a jazzed up crowd of partygoers letting loose on Long Island.
Ethan Bareham is a standout Nick Carraway, barely leaving the stage as he narrates us through this story. A charming idealist, Carraway’s innocence is completely captured by Bareham, contrasting nicely to Emily Serdahl’s determined Jay Gatsby.
This story may not have been the best background for a gender-flipped interpretation, with some confusion within the play itself. Set firmly in the 1920’s, this is a society that would be far less concerned with the adultery of Daisy and Gatsby, and much more so at their illegal homosexuality as portrayed in this version. Moniri and Todd have created an idealistic time period where homosexuality is not something worth commenting on, yet in all other ways completely grounded in the facts of classism and white supremacy of the time.
Despite this contradictory adaptation, the production itself is faultless. Although the leading actors each have their own strengths, this is truly an ensemble piece, with the performers transforming from one character to the next with ease. Flynn Hallman is a standout ensemble member, shapeshifting across class, age and sexuality from scene to scene.
Stagecraft weaves seamlessly into the production itself, with a classic soundtrack by Alva Orr and subtle lighting by Finley Bettsworth. Set by Jack Spencer captures an essence of both the original source material and the iconic 2013 movie, with the ever elusive green light taking centre stage. The impressive collection of costumes by Eleanor Dunlop are glitzy and fun, remaining true to era and effectively portraying character origin. It doesn’t get any better than this, so if glamour is what you’re looking for, look no further than a night at The Cockpit.