Review: THE GREAT GATSBY, Pitlochry Festival Theatre
Photo credit: Tommy Ga-Ken Wan
F. Scott Fitzgerald’s 1925 novel, The Great Gatsby, has been adapted many times over the last century, from Baz Luhrmann’s lavish 2013 movie to the current musical running in London’s West End. This summer Pitlochry Festival Theatre, along with co-producer Derby Theatre Production, bring us their take on this enduring tale, Elizabeth Newman’s adaptation placing the human side of the tragedy front and centre.
The story of Jay Gatsby is told to us by Nick Carraway (David Rankine), recounting the events he’s experienced while trying to make sense of them and find the ending to both his and Gatsby’s story. Nick’s narration is an effective framing device, and Rankine’s performance is excellent. He takes Nick from naïve and innocent to a man who is embittered and resentful.
Gatsby’s lavish parties are an integral part of this story, and despite the relatively small cast and stage, they are depicted effectively, with Jen McGinley’s stunning 1920s costumes and grand staircases, Emma Jones’ evocative lighting and Sasha Harrington’s clever choreography and movement direction, which often flow into a stylised slow-motion. It’s easy to see why Nick and the other characters are so drawn to these parties.
High above the stage, at the top of the staircases, sits a bandstand where, throughout the show, almost every cast member takes up an instrument and provides cleverly arranged musical accompaniment. Musical director Shonagh Murray has created a tapestry of jazz standards and more contemporary songs arranged in a 1920s style, and the talented company of actor-musicians perform these with ease, further immersing us in this hedonistic world.
When the company leave the bandstand and become their characters, the performances are universally accomplished. Tyler Collins is a brooding, menacing Tom, full of racist, classist ideology but left a broken man by the end of the story. Opposite Collins, Fiona Wood’s Daisy is tragic almost from the moment we meet her. We know that Daisy’s story does not end in a happily ever after, but Wood’s gentle optimism, along with a touch of grit, make us hope for a different ending this time around.
As tragic as Daisy’s story is, there is none quite so tragic as the titular Gatsby. Oraine Johnson injects a suave charisma into Jay, making it almost impossible to resist being pulled into his orbit. However, Johnson’s performance is much more than this. Gatsby is an idealist, a romantic, and by the end, a broken-hearted man whose unwavering belief in his love for Daisy is shattered. Johnson captures all of this and more, packaged up with smooth dance moves and a confident sophistication.
This is a beautiful adaptation of a terribly sad yet enduringly hopeful story. As the lights fade, leaving only the poignant green light, we are left to reflect on the tale of The Great Gatsby and his idea of a brighter future.
**** Four stars
Reviewed by: Lorna Murray
The Great Gatsby plays at Pitlochry Festival Theatre until 25 September, with further info here.