THE GREAT GATSBY packs in plenty of melodrama. Based on the iconic Jazz Age novel by F. Scott Fitzgerald, this musical adaptation captures the pining and tragedy of the lovesick, mysterious Jay Gatsby and Daisy Buchanan, the woman of his dreams — but it often lacks specificity. Gatsby, Daisy, and narrator Nick Carraway are some of the most recognizable characters in classic American literature, but Kait Kerrigan’s book, Jason Howland’s score, and Nathan Tysen’s lyrics often render them in broad, generic strokes. Likewise, Howland’s score skews towards contemporary pop Broadway, not taking advantage of the opportunity to infuse Jazz Age influences.

This first national tour of the Broadway musical really transfers the center of the action — and the audience’s affections — to Nick Carraway, Long Island newcomer and Gatsby’s neighbor — and his love interest Jordan Baker, a feminist golfer who proudly rejects societal and gender norms. 

The musical succeeds in elevating Jordan’s character. And Leanne Robinson is the show’s undisputed star in the role. She also has the singular best song “New Money,” which she belts within an inch of her life. That song embodies the promise of what a GATSBY musical should be — it’s bombastic and glamorous and paints a clear, specific picture of Gatsby’s new money life. The title, of course, also refers to one of THE GREAT GATSBY’s most significant themes: The division between class and wealth (though otherwise it’s largely not mentioned). Robinson’s an absolute treat in the role, and the number provides a great backdrop for Linda Cho’s glittering ensemble costumes and Dominique Kelley’s choreography. Director Marc Bruni also applies his most dynamic staging here. 

Most of the songs in THE GREAT GATSBY, however, are generic and forgettable. Bruni’s staging of solos and duets is also often static — there’s a lot of “standing and singing” going on. I think the ho-hum numbers would have also benefited from more varied staging.

As with “New Money,” the show has some other moments that genuinely build character and detail. I’m always happy to see a musical — and in those effective moments of musical storytelling, I greatly enjoyed myself. Gatsby’s first solo number “For Her” encapsulates his lovesick obsession with Daisy — he’s all alone in his house overlooking her dock, pining for her. 

Jake David Smith handles the number beautifully — he captures Gatsby’s simultaneous air of mystery and awkward loneliness. Smith also makes good choices with his speaking voice for Gatsby — he has a slight hint of a British accent as a nod to the character’s brief Oxford stint, but he’s easy to understand. And his delivery of Gatsby’s catchphrase “old sport” is wry and pleasing. He’s also terrific in “Only Tea,” which delightfully captures the character’s anxiety at the prospect of seeing Daisy again after five years…at a tea of his own devices. This song again has real emotional and structural integrity. 

Joshua Grosso is a sweet and likeable Nick, who seems like one of the few good eggs in the bunch (pun intended). His first act patter song “The Met” captures Nick’s interiority incredibly well, and Grosso infuses it with charm and humor. 

Overall, I was disappointed by the writers’ portrayal of Daisy. She’s insipid and self-indulgent, and her songs are generic. That’s not the fault of Senzel Ahmady in the role; she has a sweet and pure singing voice, but her Daisy reads really melodramatic. It’s hard to understand why Gatsby would be so infatuated with Daisy…but perhaps that’s because Gatsby’s really clinging to his idealistic memory of her, anyway. Daisy’s eleven o’clock number “Beautiful Fool” rings hollow. It could almost be introspective, except that Daisy takes no accountability for her choices and actions throughout the show and is, in fact, a fool. While the show makes clear that her husband Tom Buchanan (Will Branner, excellently sinister) is an abusive, cheating trash bag, Daisy is spineless when it comes to him. 

The secondary characters have too many songs in the show. As mechanic George Wilson, Tally Sessions (sweet as he is) simply does not need multiple solo songs. Likewise, his wife and Tom’s mistress Myrtle (Lila Coogan) doesn’t need two solos. THE GREAT GATSBY unfortunately has too many throwaway songs in the score. The second act opener — a big solo for shifty businessman Meyer Wolfsheim (Edward Staudenmayer) “Shady” is entirely unnecessary. 

While THE GREAT GATSBY has some effective songs and character development, the musical doesn’t ultimately live up to the glitz, glamour, and legacy of its source material. 

The Broadway In Chicago engagement of THE GREAT GATSBY runs through May 3, 2026 at the Cadillac Palace Theatre, 151 West Randolph. Tickets are $49-$149 with a select number of premium tickets available.

Photo Credit: Evan Zimmerman for MurphyMade

Tickets: broadwayinchicago.com 

Originally published on broadwayworld.com

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