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This review was published on April 25, 2024.
At the 77th Tony Awards,The Great Gatsbywon for Best Costume Design in a Musical.
Here and throughout, Kerrigans book sticks close to Fitzgeralds but sentences are one thing.
Under Marc Brunis jazz-hands-happy direction, thisGatsbyfeels like it belongs on a cruise or in a theme park.
It would make a good fit if Epcots pavilions expanded to include time periods as well as countries.
Poor James Gatz, victim of his own disguise.
Here, Bruni and his designers lean into the roaring garishness almost to the point of cartoon.
And Paul Tate dePoo IIIs set and projections are a Deco-meets-digital monstrosity.
Broadway producers, yo,this video thingis out of control.
Its the theatrical equivalent ofmotion smoothing a novelty and a technological deadener.
Yes, youcan, butshouldyou?
So much bling to disguise the fundamentally static, silly picture in which they were trapped.
Its that last bit that too often gets lost.
The lush, doomed love of it all is the selling point.
Its not that the rest of the cast isnt showing up.
Its the silhouette youd get if you were to search for clip art for spy.
When it falls apart, it does so because of Nicks clear moral repulsion.
Somewhere, Scott must be cackling.
The Great Gatsbyis at the Broadway Theatre.
