THE GREAT GATSBY
OVO at the Roman Theatre
★★
“has some interesting ideas but currently falls short on delivery”
The Great Gatsby is a tale of the hollowness of Jazz Age America. Unfortunately, the wrong kind of hollowness comes through in this outdoor musical adaptation despite the cast’s best efforts.
Staged in the expansive OVO Roman Theatre, this adaptation of F. Scott Fitzgerald’s classic novel is reimagined as a cabaret show in the ‘Green Light Club’. With cabaret performers Texas, Gus, Belle and Helen narrating and performing, expect a slightly different version of events as Gatsby’s blind determination to reclaim his lost love, Daisy, is met with fatal consequences.
Adapted and produced by Mark O’Sullivan, the writing shines brightest when it sticks to the source material. Otherwise, several narrative choices hamper rather than enhance the storytelling. The cabaret setting doesn’t land: it isn’t always clear when the new characters are narrating versus performing, and having them narrate instead of Nick (even though he’s in the room) removes his much-needed critique. I know it’s a cabaret but why is a magician telling Gatsby’s backstory? Why does the explosive climax start out as a silent movie? This. plus moving key moments around, such as Daisy’s devastating hopes for her daughter, completely change the tone and lessen their emotional impact. Some of the writing even feels a little clumsy, such as Jordan asking Nick to lunch while standing over a dead body, an overly blunt expression of coolness. The result is a rather confusing mishmash of story beats which doesn’t quite do the iconic plot justice.
Kelly Ann Stewart’s direction brings out some strong performances but also has its flaws. For example, the blocking needs work, obscuring the words to the all-important silent movie. Just before Gatsby meets his fate, he walks into Wilson’s garage which hasn’t existed in Gatsby’s world until now. Ryan Munroe’s simple choreography could be more sharply executed, leaving the cabaret scenes feeling a little lacklustre. Perhaps the most confusing moment in the piece comes when Nathan French, playing both Gatsby and Wilson, has to quick change between the two, necessitating a drawn-out cover by an excessively slow-moving bullet (clearly drawn from Hamilton by the way) during what should be the dramatic climax.
Musical Director and pianist Andrew McCormack tries to bring out the roaring twenties but the choice and locations of several songs interrupt the flow. Some feel jarring and undo the emotional tension, such as Gatsby bursting into ‘I Got Rhythm’, the cast singing ‘Happy Birthday’ to Nick, and ‘This Little Light of Mine’ opening Act 2. In fact, only one song adds to the plot, a drunken, mournful song from a female reveller during one of Gatsby’s parties.
The costumes (Ciéranne Kennedy-Bell and Thea Peacock) sometimes obscure where we are and lack cohesion, especially in the club scenes. Hannah Stanley’s sound is well designed but not always well executed, missing several mic cues. Caitlin MacGregor’s lighting creates some very dramatic moments but could separate the club from the main story more effectively. Simon Nicholas’ set design effectively creates different spaces, my favourite being Dr Eckleburg’s otherworldly eyes glowing in the distance.
The cast’s acting is this production’s saving grace. French skilfully contrasts Gatsby’s superficial coolness against Wilson’s crudeness and even manages to subtly let Gatsby’s mask slip. Rochelle Jack brings out a full spectrum of emotions in her stripped-down Myrtle, with a rich singing voice to boot. Jonathan Tynan-Moss’ Nick is perfectly naive and knowing, delivering a moving performance. Though the standout is Jessica Vickers’ Daisy, a mesmerising kaleidoscope of honest and affected emotions with an impressive singing voice to match.
Overall, this production has some interesting ideas but currently falls short on delivery. Future versions would benefit from refocusing the cabaret more clearly around the plot and considering the choice and timing of musical numbers to keep building the emotional pressure. These adjustments would help this capable cast shine as brightly as that elusive green light.
THE GREAT GATSBY
OVO at the Roman Theatre
Reviewed on 11th August 2025
by Hannah Bothelton
Photography by Elliott Franks
Previously reviewed at this venue:
ROMEO AND JULIET | ★★★ | June 2023
