The Great Gatsby

    By Joseph Cervelli

When you first enter The Paper Mill Playhouse you notice the foreboding scrim of the sea and and Long Island mansion in the background (set design by Paul Tate DePoo III) swept in an ominous darkness. Of course, anyone familiar with the classic novel "The Great Gatsby" will be aware of the tragic ending to the American Dream which is what the book is all about. 

While the novel does lend itself to be turned into a musical that should dazzle and involve the audience with the tragedy of what transpires to these very wealthy people in 1922 "The Great Gatsby" musical  fails on both levels. It is overbloated with too many songs, perfunctory production numbers and diluted characterizations. The mostly forgettable 26 or so songs has one exception being the gorgeous "For Her" which is unnecessarily reprised two times. The serviceable score by Jason Howland with rather mediocre lyrics by Nathan Tysen should propel the storyline not make it stagnant which is the case.  I am surprised that the lyrics were not far better since Tysen co-wrote the excellent ones to the underrated musical "Paradise Square" along with much better Howland music.

Book writer Kait Kerrigan has decided to not make the actual main character Nick Carroway (Noah J. Ricketts) the narrator of the story as in the book. This is fine but what Kerrigan has done is for some inexplicable reason turned Carroway into an almost throwaway character and seems misdirected by Marc Bruni.  So, Ricketts is a definite talent yet the way he is written here disappointingly makes him feel strangely insignificant.  It is hard to think a character which stood at the forefront of the story has almost turned into what feels like a secondary one. 

The show does have a promising beginning with Gatsby (Jeremy Jordan in tremendous voice does well as the enigmatic Gatsby) singing the excellent opening number "Roaring On" about the end of the war and time to move on. The tableau of the ensemble is very Fosse as choreographed by Dominique Kelley. While the lyrics especially "don't know 'bout you but I'm done with the Spanish Flu" are a bit silly it is a scintillating number and  probably the best of the production numbers. There really is no need for "New Money" which is a facsimile of "Roaring" sung soon after the opening one.  

Nick returning from the war and wanting to pursue a career in New York visits his cousin Daisy Buchanan (a wonderful Eva Nobelezada) who like Jordan has an incredible vocal range and can belt out songs beautifully. She is married to the obnoxiously wealthy and almost brutish Tom Buchanan (a perfectly nasty John Zdrojeski) but has always been in love with Gatsby whom she has not seen for five years and unaware that he is the owner of the nearby mansion.

For some inexplicable reason the lesser important annoying character Ol' Owl Eyes (Colin Cunliffe) is given the unnecessary "The Great Gatsby" which thankfully only has a few lines but is rather foolish. And Cunliffe overplays the role. 

The philandering Tom has a girlfriend unbeknownst to Daisy named Myrtle (well played by Sara Chase) wanting the life that Daisy has but is stuck living with her lifeless husband George (a sympathetic Paul Whitty) who runs a garage which is a front for the crooked Meyer Wolfsheim (an excellent Stanley W. Mathis). Nick considers the life that Myrtle and George living a "valley of ashes" which makes sense but what does not is that Whitty sings  the unnecessary "Valley of Ashes" which adds nothing to the story.  

And the metaphorical billboard of what is assumed to be an eye doctor has little meaning here. Of course, Myrtle must have her own number which is the overstaged  "Secondhand Suit" when Tom brings her to an exclusive  store where she purchases a new dress. And then comes the dreadful scene in which Tom  brings Myrtle to an apartment in Harlem for sex which is owned by a couple who run it like a brothel. Along for the ride is the unsuspecting Nick who is accosted by the lecherous co-owner Mr. Mckee (Dan Rosales). 

One of the other characters is the brash golfer Jordan Baker (a very effective Samantha Pauly) who develops a relationship with Nick. Only in time does Nick begin to see how shallow all these people really are. 

The last song "My Green Light" at the end of the overlong first act means nothing here unless you are familiar with the book. 

The second act concentrates a bit more on the characters which is helpful though  frequently interrupted by inconsequential songs and one very routine production number "Bootstraps" which is saved  by the familiar though well done tap dancing. George's "God Sees Everything" falls flat. While the final number is "Beautiful Little Fool" is sung superbly by Noblezada though it doesn't like others really fit in after her final scene with Nick. 

The funeral scene (no spoiler here) should be a stirring account of the life of those realizing their dreams have collapsed but instead of climatic it becomes a huge letdown with one silly, unnecessary moment. Bruni is an otherwise fine director who should have guided this scene much more effectively.  

The set design is sumptuous although the entranceway to Gatsby's mansion with its art deco design is a bit reminincent of Radio City Music Hall. One of the two cars (both move succinctly around the stage) is a gorgeous yellow Rolls Royce convertible. Also, DePoo III does a great job with his projection design especially the scene where Tom and company drive from Long Island going into New York City. 

Linda Cho's costume design as always is on spot as well as Cory Pattak's lighting. Brian Ronan's sound design tends to be overmiked.

The show would be far more successful if the book was reworked concentrating more on the development of the characters and greatly trimming the score.  On the positive side you have some very fine performances notably Jordan but even more so in Noblezada. 

In its current state it is a letdown. 

PHOTOS: JEREMY DANIEL

Tickets are available at the Paper Mill Playhouse, Millburn, NJ.