★★★★★
The Great Gatsby, written by F. Scott Fitzgerald in 1925, is a classic piece of American literature. Its ever-relevant themes and opulent setting have seen it adapted for the stage and screen many times over the years. Now, BIG Live present their version, magnificently capturing the heart and soul of this timeless narrative in their ballet jazz odyssey.
Set against the backdrop of 1920s New York City, The Great Gatsby reflects the sacrifices people are willing to make to cling to a life of luxury. Nick Carraway, acting as the narrative’s moral compass and narrator, mourns the loss of integrity, honesty and love in high society.
For audiences already familiar with the story, you will be delighted by this fresh and exciting adaptation that truly honours the original novel. If the story is unknown to you, though, the program synopsis and elegant physical storytelling easily align audiences with the world and its nuanced relationships.
Joel Burke, Co-Founder and Artistic Director of BIG Live, and choreographer for The Great Gatsby, has crafted a magnificent story. Every movement is filled with narrative purpose, from the dazzling jazz styles of the many parties to the more traditional balletic moments of intimate connection and reflection.
Composers Jason Fernandez and Dominic Cabusi have crafted a glorious musical score, carrying audiences through every moment of tension, passion, joy and grief effortlessly. Combined with moments of voiceover from the narrator, the soundscape beautifully mirrors the visual storytelling on stage.
From the moment the curtain rises, we see all the glitz and glamour of the world come to life. The set design by Ben Hambling impeccably combines stunning projections and physical set pieces. They are framed by a border of beautiful Art Deco motifs immediately reminiscent of the era.
Steven May’s lighting design perfectly complements this, with different colours and hues reflecting every character and their emotional state within the setting.
Sophia Drakos absolutely nailed the brief with the costume design. She captures the iconic flapper fashion style of the 1920s while allowing freedom and confidence of movement for the dancers.
Ethan Mrmacovski portrays Nick Carraway, the observer and moral centre of the tale. How he is swept up in the glamorous lifestyle of the rich is embodied in the free and playful way he dances during the party scenes. But even through this, and in his moments of quiet reflection, there is an honesty and integrity that shines through his movement.
Ervin Zagidullin takes on the eponymous role of Jay Gatsby and carries an incredible blend of confidence and emotional vulnerability throughout the performance.
It is amazing to watch how his movements reflect his love for Daisy, particularly in their pas de deux in Act One. This contrasts perfectly with how he holds himself when commanding the attention of the room, tinged with the remnants of his scrappy rise to power.
Abbey Hansen beautifully embodies the role of Daisy Buchanan, the New York City socialite at the centre of this tragic tale. Her desire to love truly and deeply is captured in her honest and emotive dancing, particularly when partnered with Gatsby. In the end, however, her need to retain her social status wins out, embodied in the polished and poised way she carries herself in her final scenes.
Tom Buchanan, Daisy’s husband, is portrayed by Joel Burke, and he does so with incredible finesse and power. His arrogance and desperation to assert control over everything and everyone are perfectly embodied in the strength and sharpness of his dance style.
Giselle Osborne wonderfully performs in the role of Jordan Baker, carrying herself with power and confidence through the new freedoms of the era. She acts as the perfect foil to Carraway; also an observer of the story but detached from the emotional consequences and willing to set these aside in favour of retaining her advantage.
Mia Zanardo is delightfully feisty and fiery as Myrtle Wilson, Tom Buchanan’s mistress. Every moment of her performance is passionate, tainted with the desperate way she clings to any tiny morsel of power and luxury that comes her way. Her final moments on stage are incredibly poignant, leaving audiences reeling as she pays the ultimate price for the crimes and follies of those she so desperately wants to be.
The performers are credited as both dancers and actors in the program, a title which I could not more heartily agree with. The ensemble is delightful to watch, filling every scene with life and enriching the story with their immaculate execution of the choreography.
BIG Live’s adaptation of The Great Gatsby is masterful. The show grips audiences’ attention from the very first note and holds it tight with stunning visuals, an evocative score and emotive, narrative-driven choreography. I highly recommend taking the time to bask in all the glitz, glamour and glory of this new production.
The Great Gatsby: A Jazz Ballet Oydssey is presented by BIG Live and runs to 8 March at the Capitol Theatre Sydney. The full national tour schedule can be found at the website link below.
Get tickets here.
Website: https://bigliveco.com/performances/the-great-gatsby/#schedule
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4 responses to “Review: The Great Gatsby Jazz Ballet Odyssey Is A Triumph”
Fabulous, accurate review Sophie, congratulations. I couldn’t agree more with you. It was absolutely spellbinding, emotive, powerful, entertaining.
Congratulations to Joel for his amazing creative and business talents, and to all the cast and crew.
Its a world class production and a credit to the talent and passion of you all.
Thank you. 🥰
Totally agree with Sophie and Colin.
It’s a spell binding performance and the sets are stunning especially surrounded by the beauty of the Capitol theatre.
Congratulations to Joel Burke and the cast and crew that made it possible. Well done. 🥂❤️
I must be one of the few who was disappointed with The Great Gatsby at the Capitol Theatre.
I had been looking forward to it, as I love watching dancing, but the choreography was repetitious and unimaginative. I was expecting lively and energetic dancing, but the dancers were let down with the choreography. One of the audience members at interval said they had nearly fallen asleep. I had such high expectations, but left feeling let down and disappointed.
No, you’re not the only one. I was falling asleep before the end on the first act. Sadly it was hollow and lacking the pizzazz I was expecting after seeing the clip full of exciting music and glittering dancing.
It was boring.