Review: BALLET ARKANSAS' GATSBY at Arkansas Museum Of Fine Arts in Little Rock

Is there any other decade that is as tragically glamorous as the Roaring '20s? There is the jazz, the Prohibition, the snazzy vehicles, the extravagant parties, the fabulous fashions, and, of course, the Great Depression looming just around the corner. It was an era of excess and excitement, when fortunes were made, champagne flowed behind closed doors, and everyone seemed to be chasing the American Dream. Yet beneath all that glitz and glamour were heartbreak, betrayal, and the harsh realities of a society obsessed with wealth and status. What better way to capture the beauty and tragedy of this fascinating period than through F. Scott Fitzgerald's timeless classic, THE GREAT GATSBY? Under the artistic vision of Artistic and Executive Director Michael Fothergill, Ballet Arkansas embraced all of that decadence and drama with its world premiere production at the Arkansas Museum of Fine Arts in Little Rock, bringing the Jazz Age to life through breathtaking dance and imaginative storytelling.

This production marks a particularly special occasion for Ballet Arkansas. Not only is the company celebrating its 48th anniversary season, but Michael Fothergill and his wife, Catherine, are commemorating ten years together at the helm of the organization. Under their leadership, Ballet Arkansas has grown into one of the nation's top 75 dance companies while expanding its artistic programming and educational outreach. 

Though Ballet Arkansas presented THE GREAT GATSBY five years earlier, this version is an entirely new interpretation. Fothergill reimagined the story through expressive choreography that captures the emotional complexities of Fitzgerald's novel without relying on dialogue. Accompanied by music largely inspired by the 1920s, the production transports audiences into the lavish and sometimes dangerous world of the Jazz Age.

 The story begins in an unexpected place—at the end. Jay Gatsby (Benjamin Piner), known as The Dreamer, lies dead at center stage as four mysterious Muses guide him through the memories and choices that led to his tragic fate. I especially love Fothergill's use of these figures, which adds an intriguing, almost magical element to Fitzgerald's classic. Desire (Karen Lopes de Avila) fuels Gatsby's obsession with Daisy, while Excess (Meredith Loy) represents the fortune and extravagant lifestyle he has built in hopes of winning her back. Memory (Emma Friedenmaker) keeps him desperately clinging to a love that may no longer exist, while Fate (Sage Vendt-Feldges) serves as a haunting reminder that his dream may ultimately destroy him. Gatsby's greatest tragedy is that he has everything money can buy except the one thing he wants most—Daisy's love and the chance to reclaim their past. Watching these enchanting figures weave through his journey is mesmerizing and heartbreaking as we witness a man sacrifice everything for a dream that was never truly within his grasp.

Benjamin Piner possesses an undeniable charisma that makes it impossible not to fall in love with his portrayal of Jay Gatsby. There is a magnetic quality to his performance, blending confidence and charm with an underlying vulnerability that makes Gatsby's longing for Daisy all the more heartbreaking. Piner moves with elegance and emotional sincerity, making you root for him despite knowing his tragic fate. 

At the center of Gatsby's world is his overwhelming love for Daisy Buchanan (Murray McCormack), known as The Golden Girl. Gatsby has built an extraordinary life around the hope of reclaiming their romance, but Daisy is married to the wealthy and arrogant Tom Buchanan (William Heide), appropriately identified as The Heir. Their marriage is complicated by Tom's affair with Myrtle Wilson (Lauren Yordanich), whose relationship with her husband, George Wilson (Keith Newman), becomes another casualty of the characters' reckless decisions. Myrtle is described as The Hungry Heart, while George represents The Working Man.

Murray McCormack has an angelic quality that immediately captivates your heart. As Daisy, McCormack radiates elegance and grace, with a delicate expressiveness that makes it easy to understand why Gatsby is so hopelessly enchanted. Every movement seems effortless, and there is a softness to McCormack's portrayal that beautifully complements the character's romantic allure. Yet beneath that lovely exterior lies a woman whose choices have heartbreaking consequences, making the performance even more compelling.

I do love a good bad guy, and Keith Newman gives the audience someone they can thoroughly enjoy booing! As George Wilson, Newman delivers a wonderfully convincing portrayal of a troubled drunkard, using expressive movements and commanding stage presence to capture the character's instability and desperation. His physical storytelling is particularly effective, and he embraces George's unpleasant nature so convincingly that you almost forget you're watching a performance. 

There is certainly no shortage of romantic complications in this story! Between the secret affairs, broken promises, and questionable choices, it would be easy to lose track of who belongs with whom. However, Fothergill keeps these relationships understandable through his choreography and the dancers' expressive performances.

 The supporting characters are equally captivating, and I have to share a little extra love for three performers who bring their own distinctive personalities to Gatsby's world. Kerridwyn Schanck is delightful as Catherine, appropriately identified as The Gossip, adding a playful energy that makes her a pleasure to watch. Aldrin Vendt-Feldges brings an elegant and thoughtful presence to Nick Carraway, The Witness, whose observations and interactions help guide the audience through the tangled relationships and increasingly reckless decisions unfolding around him. And I must admit, McKenna Ulbrich caught my attention as Jordan Baker, The Modern Woman! Her grace, confidence, and expressive movements beautifully capture Jordan's independent spirit. Each of these dancers brings a special charm to the production, and I found myself wishing they had just a little more time in the spotlight.

The dancers of Ballet Arkansas never cease to impress me with their passion and remarkable technical abilities, and THE GREAT GATSBY gives them a wonderful opportunity to showcase both. From lively, jazz-inspired party scenes to emotionally charged encounters, every movement is executed with precision and purpose. Their impressive leaps, graceful lifts, and beautifully synchronized ensemble numbers capture the extravagance of the Roaring '20s, while their expressive storytelling reveals the heartbreak beneath all that glamour. These dancers don't just perform Fothergill's choreography—they bring his vision to life, making us feel every celebration, betrayal, and broken dream.

Behind the scenes, Technical Director Alan Malcolm, Lighting Designer Griffen Birdsong, and the stage crew from Little Rock Stage Group, Inc. help bring this production to life. The costumes, courtesy of Ballet Arkansas, complement the period atmosphere, while the musical selections capture the excitement of the era. The score features music by George and Ira Gershwin, Frankie Carle & His Syncopatin' Six, Johnny Guarnieri, Francis Poulenc, Joseph Kosma, and Bob Wilson & His Varsity Rhythm Boys.

Beyond the beautiful performances, one of the things I admire about Ballet Arkansas is its commitment to making dance an important part of the community. Board President Ann Patel expresses gratitude to the patrons and supporters whose generosity has helped the organization grow. That support has allowed Ballet Arkansas to present captivating productions, expand educational opportunities, and establish a premier dance school in the state. It is wonderful to see an arts organization not only entertaining audiences but also investing in the next generation of dancers.

Fothergill also acknowledges the dedication of the performers, artistic staff, crew, volunteers, sponsors, and supporters who have helped shape Ballet Arkansas over the past decade. The Arkansas Museum of Fine Arts continues to be an important partner, providing a beautiful setting for these performances.

And the celebration is only beginning! Ballet Arkansas has an exciting lineup planned for its 2026–2027 season, including the holiday favorite THE NUTCRACKER SPECTACULAR, followed by THE SLEEPING BEAUTY: REMIX and DON QUIXOTE: A LA MANCHA LOVE STORY. With such a diverse selection, there is plenty for ballet enthusiasts and newcomers alike to enjoy.

For more information about Ballet Arkansas, its educational programs, and upcoming performances, visit balletarkansas.org. Tickets for the 2026–2027 season are available through the company's website.

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