Independent Theatre Company. Space Theatre. 3 Sep 2015
The American Century began after that nation's late contribution in ending World War I, and F. Scott Fitzgerald was right there with it, naming the interwar period with his collection of stories, entitled, Tales of the Jazz Age, and furthering the fiction of the American Dream in The Great Gatsby, both of which he wrote in the twenties. The great Jay Gatsby was actually a great prohibition-era criminal, directing operations in several large American cities from his Long Island mansion, purchased to keep an obsessive eye on an old flame from the war days, now unfortunately married as Mrs Daisy Buchanan. He hoped that hosting generous and ostentatious high society parties would draw her to him like a moth to a flame, but he needed the assistance of his lowly neighbour - and narrator of director Rob Croser's clever adaptation - bond trader Nick Carraway.
The fantastic art deco set of ivory and marble, designed by David Roach (with assistance from noted Adelaide architect and brother Rod Roach) and Rob Croser, set the mansion and Manhattan scenes in opulent style. Croser picked the right cast. Will Cox hit all the marks as the mid-western east coast initiate, Nick Carraway. Cox had a pivotal role introducing the scenes, and in providing background and thought bubbles, and as a useful tool in the machinations of the mega-rich. Lindsay Prodea did a great job with the complex Gatsby. Green pier lanterns for envy and a yellow car for cowardice were Gatsby's colours. He presented the exterior of a confident self-made man, but also displayed Gatsby's vulnerability, conflict, and willfully blind objectification of his romantic goal.
In condensing a novel for stage, Croser had to choose amongst numerous scenes and descriptions to flesh out the characters and this was successfully done. Alexander Woollatt created an unpredictable and dangerous Tom Buchanan. Madeleine Herd and Kate Bonney as Daisy Buchanan and Tom's mistress respectively successfully presented as high class possessions deeply indebted to a man's world. Herd gave us a distracted attitude (as indeed required) while Bonney produced a lively persona that lifted the show. Laura Antoniazzi got a hole-in-one as female golfing champ and party person Jordan Baker. Three sparkling gems. Nick Fagan did a good snap as the hapless hubby of Tom's mistress.
Where would the story be without the glitz? In the Lower East Side, not on Long Island, where it belonged. The cossies by Sandra Davis, Pattie Atherton and Angela Doherty, along with the make-up and hair, were absolutely stunning! Choreographer Pam O'Grady got the crew gaily flapping at the numerous Gatsby functions. Andrew Steuart had a unique modus operandi that caught my eye in every part he played, especially on the dance floor. The party mood was definitely enhanced by feisty songs of the period sung on stage by Ben Francis.
Opening night though, jeez, I wager, was not as good as any subsequent performance which I implore you to see. At the beginning, things seemed a little forced and uncertain, but the whole shebang built up to speed as the evening wore. The stakes were raised and the mood successfully shifted from party gaiety to psychological drama. The epilogue was very touching. Those familiar with the 2013 Baz Luhrmann film with Leo Cappuccino in the eponymous role will find a much more complete story on stage. Bravo to Croser for yet another world premiere of his own adaptation of a classic!
David Grybowski
When: 3 to 12 Sep
Where: Space Theatre
Bookings: bass.net.au
