Gatsby: An American Myth
World Premiere of Gatsby: An American Myth at the American Repertory Theater // Julieta Cervantes
The myth of the “Great American Dream”, where you can come from nothing and somehow, someway become something. The Great Gatsby rebuked the idealization of the American Dream when it was first released in 1925. Many adaptations have lost this piercing theme to the glitz, glamor, and romance of the Jazz Age. But, Gatsby: An American Myth finds those underlying themes and brings them to the surface while still sinking audiences into that glamor the period is known for. With Rachel Chavkin (Director) at the helm, this retelling of an iconic story finds a way to adapt without losing deeper meaning.
Nothing in this telling of Gatsby is even leaning towards tacky, every aspect of the production showcases a level of creativity tied seamlessly into the next. The first point of entry into this world is Mimi Lien’s thought-provoking set that balances the flimsiness of the “society” this dream is built on with the price it costs everyone. The entire set glistens in a chromatic light yet when you look deeper (which I had time to do sans phone for 30 minutes before the production), you see that this shiny glamorous backdrop is made up of car scraps. This perhaps represents everything and everyone we are willing to step on to achieve this so-called American Dream. Another aspect that stuck out was the silver party curtains on either side of the stage à la 21st Birthday decorations from Party City showcasing that beneath the surface, this lavish culture is easily disposable. The people don’t care about each other as much as they do the charade. Chavkin’s staging throughout this expertly constructed set is to be revered and studied. Particularly, her choice to have the ensemble constantly looking on at Gatsby even in more intimate scenes yet disappear once he dies and thus can’t help them anymore.
Costuming by Sandy Powell stitches another patch in the effective subtlety of this storytelling. Between the ensemble dressed as mineworkers and the lack of color worn by any character other than Gatsby, the reality of the cost of wealth is cemented. What stands out most is perhaps the subtlest of all. Throughout the show, dirt appears around the bottom hem of each character’s costume, one by one starting with Myrtle and ending with Nick. This can be interpreted to highlight the blood on everyone’s hands in a capitalistic society. Each character picks up this dirt once they have done something that pushes them higher at the cost of someone else.
World Premiere of Gatsby: An American Myth at the American Repertory Theater // Julieta Cervantes
The adaptation of this show (Music: Florence Welch & Thomas Bartlett; Book: Martyna Majok) perfectly answers why the change in medium is necessary. The expansion of the character arcs, specifically Myrtle, alone is reason enough to create this show. Majok’s choice to bring Myrtle to the forefront of the story not only showcases a star in the making in Solea Pfeiffer but does wonders for the show itself. Myrtle and Gatsby are identical in many ways yet the antithesis of each other in their outcomes. Gatsby came from nothing and found the American Dream that Myrtle wanted so badly that she gave her life for it, yet never saw it come to fruition. This dynamic brings out the truth of the show on a deeper level. Majok furthers this by portraying Gatsby as a real human with struggles and qualms whereas most adaptations portray him as a sort of God. Isaac Cole Powell (Gatsby) brings out a human side to the character, showing reason and motivation behind Gatsby’s actions beyond that of romance. The book falls a hair flat however where it goes too deep into the meta-themes, neglecting explanation of basic plot points. At times, it feels like an English major’s Gatsby rather than one created for everyone to learn from. Perhaps by design, the “B Couple” (Myrtle & Wilson) is significantly more intriguing for an audience than the “A Couple” (Gatsby & Daisy). Yet, none of these misses are enough to steer the story off track.
“Gatsby: An American Myth is art at its finest in every corner.”
Welch & Bartlett’s score is overall GOLDEN. As one of the few current musical theatre scores that leap over the traditional trap, Gatsby creates a musical theatre genre in and of itself. Each song is imprinted with Welch’s indie-folk background that blends beautifully when told by actors' vocals that seem to almost emulate her own. Powerful standout moments include Gatsby’s “I Want” song that doesn’t come until the end of Act 1 in the form of Mr. Nobody From Nowhere and the final number, We Beat On which showcases the angelic ensemble vocals in a powerful wall of sound manner. Charlotte McInnes (Daisy) portrays an inability to make decisions for her own life in the heartbreaking I’ve Change My Mind that haunts audiences weeks after leaving the show. When Daisy is screaming for help, trying to tell everyone closest to her that she doesn’t want to marry Tom, they treat her as if her feelings do not matter. The brightest standout moment comes towards the end of Act II, in Myrtle’s final moments with her husband Wilson. Powerful vocals and emotions that run higher than anyone has ever seen are scored by the What is this Worship to What of Love, What of God sequence. This performance is a star-maker for Pfieffer. Even the subjectively worst songs in the score are far superior to the best in many musicals currently running today. Even so, The Damage That You Do, a song between Daisy and Tom after Myrtle is killed, has so much potential to be piercing yet drags along a message that the audience receives by the end of the first verse. As a challenge that Welch created for herself, fine-tuning is necessary here to fall in line with the rest of this revolutionary score.
World Premiere of Gatsby: An American Myth at the American Repertory Theater // Julieta Cervantes
The individual performances in this all-star cast are the final piece in the puzzle that makes this production soar. Solea Pfeiffer’s performance as Myrtle solidifies her place as the next big Broadway star of our generation. Her voice is perfection while humanizing Myrtle in a way that allows each audience member to see bits of themself in the character. Ben Levi Ross as Nick narrates with Ben Platt-esque vocals (fitting as he was a replacement in Dear Evan Hansen). He impeccably portrays the implication of a well-intentioned person who succumbs to the pitfalls of society. Eleri Ward (Jordan Baker) and
Charlotte McInnes (Daisy) both have unique standout vocals that mesh with the style of folk music created by Welch impeccably. Adam Grupper as Wolfsheim is a showstopper with a rare moment of light in the show that brought the audience to a roar. While the acting is incredible, it is very clear casting was for VOCALS FIRST as each and every person on stage has the voice of a folk siren.
Gatsby: An American Myth is everything you never knew you hoped for in an adaptation of this classic tale. In this creative team's hands, it is magic that toes the line between glamor and thematic development. Undertoned with elements from Chavkin’s past work (Hadestown, Great Comet of 1812), this production leans into the hard messages. While I didn’t walk away singing any of the songs, I walked away with something much deeper. Gatsby: An American Myth is art at its finest in every corner.
Gatsby: An American Myth ended it’s run at the American Repertory Theater in Cambridge, MA on August 3, 2024. The future of the show is unknown at this time.
By Aidan O’Connor
