A dazzling new musical based on Fitzgerald’s celebrated novel ‘The Great Gatsby’ is now playing at the Ed Mirvish Theatre in Toronto. Fitzgerald’s broad themes, which invoke the failures of the American Dream, along with the complex plotline, should be a challenge to pack into one evening of theatre.
But it is a success. Nathan Tysen’s lyrics move the plot along, and Marc Bruni’s masterful direction orchestrates a talented cast and gifted designers to create a powerful production.
The preset represents Long Island Bay with Fitzgerald’s iconic symbol of the green light – a strong pinpoint that beats like a human heart. Gatsby’s longing for his one-time lover Daisy Buchanan just after the Great War is the driving force of the story.
Narrated by the naïve Midwesterner, Nick Carraway, subtly played by Joshua Grosso, the tale follows Nick’s foray into New York society as he rents a small cottage beside the extravagant mansion of Gatsby. He meets Daisy, his second cousin, and her brutal, wealthy husband, Tom (Tim Quartier). He learns firsthand of Tom’s brutality and betrayal and so goes along with Gatsby’s plan to help initiate a meeting with Daisy.
Gatsby famously throws frequent wild parties, which gives choreographer Dominique Kelley a host of opportunities for rich and splashy numbers. The opening sequence is a raging tumult – dancers seem to be moving independently, but the effect is uniform and dazzling. Tap numbers are infectious.
Tom’s trysts are with Myrtle Wilson, beleaguered wife of a lowly mechanic, George, living in the valley of ashes. Frequent affairs throughout the story belie the social rot that Fitzgerald exposes. Daisy finally meets with Gatsby, and complications ensue.
Gatsby is played by Jake David Smith, who cleverly oozes the charm but also mystifies the world with dark secrets. His accent is pure pretension, and he postures with one hand behind his back like an 18th-century count. Rumours begin that his riches are built on smuggling and Daisy now must make a choice.
The rot finally breaks open, and the result is tragic.
Daisy is played by Senzel Ahmady with a quiet charm and low-key sensibility – she submits to a suffering marriage. Lila Coogan plays the tragic Myrtle with abandon – she seems to have nothing to lose. Her solo ‘One Way Road’ soars and is heartbreaking.
Gatsby’s shadowy agent Meyer Wolfsheim is played by Edward Staudenmayer. His second-act number ‘Shady’ is well-choreographed, but his character is over the top – he is almost a caricature of evil.
With set design by Paul Tate dePoo III, he creates towering panels of rich gold that slide to create various sections of the ostentatious mansions. The towers suggest both the bloated size and power of the rich. But they also create a crushing weight over the victims of the failed American Dream. Another towering set depicting Gatsby’s excess with expensive shirts was a marvel.
Costume designer Linda Cho has a full plate, and she rises to the occasion. Set in the early 1920’s, she evokes the careening lives of the Jazz Age – sequined flapper dresses, feathers, and ornate evening wear. Elegance is a staple even with the men.
This musical could have spiralled out of ostentatious control, but Bruni’s fine direction kept it unified and entertaining.
My naivete – upon entering and wandering through the theatre, a good number of women were fully dressed in all manner of Jazz age flapper outfits. I assumed they were all on the payroll as event staff, but no – they were patrons like myself having a rollicking good time.
Torontonian audiences, to their credit, love to have a good time at the theatre!
‘The Great Gatsby’ by Kait Kerrigan, Jason Howland, Nathan Tysen
Performers: Jake David Smith, Senzel Ahmady, Joshua Grosso, Leanne Robinson, Lila Coogan, Tim Quartier, Edward Staudenmayer. Plus full cast of ‘The Great Gatsby’.
Direction: Marc Bruni
Musical director: Jason Howland
Set design: Paul Tate dePoo III
Costume design: Linda Cho
Runs through: August 23, 2026.
Tickets: mirvish.com
