Review: THE GREAT GATSBY Glitters but Leaves Fitzgerald's Shadows Behind

It felt like a New Year's Eve party at the National Arts Centre last night, with patrons dressed up and ready to celebrate the opening night of Broadway Across Canada's presentation of The Great Gatsby. The musical adaptation of F. Scott Fitzgerald's famous novel is a bold undertaking, and this production leans fully into spectacle for its reinterpretation of the story.

Jay Gatsby (Jake David Smith), the title character and antihero of the story, is a veteran of the Great War, who subsequently moved to the East from the Midwest, where he became "nouveau riche", acquiring massive wealth during Prohibition through a bootlegging enterprise. But despite his mansion overlooking the water and champagne-fuelled parties, what Gatsby really wants is something that money can't buy: long-lost love. Before the war, Gatsby was in a relationship with Daisy (Senzel Ahmady), but her father objected to his penniless status. Daisy ultimately married Tom (Will Branner), who has "old money", although he is also adulterous and physically abusive. Daisy and Tom live across the water from Gatsby's mansion, their dock illuminated in the distance with a soft green glowing light. Daisy's cousin, Nick (Joshua Grosso), has recently moved into the cottage on Gatsby's land. Soon after, Gatsby hatches a scheme to reunite with Daisy in an effort to, once again, sweep her off her feet, but with tragic consequences.

The show is one of the most lavish I've ever seen in a touring production. The sets ooze opulence and art deco panels shimmer as they glide across the stage. The background projections are used in a way that deepens the stage and augments the physical props, rather than replacing them (scenic and projection design by Paul Tate Depoo II). The mansion scenes contrast harshly with George Wilson's (Tally Sessions) gas station, which comparatively looks like an apocalyptic wasteland, making the class differences glaringly obvious and highlighting the hard work done by the lower class to achieve the American Dream, to no avail. George's wife, Myrtle (Lila Coogan) has become tired of waiting for the tide to turn and is in a secret (to George, anyway) relationship with Tom. She hops into Tom's car with a cruel disregard for her husband; the flashy vehicle in this wasteland seems symbolic of their thoughtless disdain for those around them. The cars are the most impressive of all the props in The Great Gatsby; their use recurs throughout the show as a symbol of wealth, elegance, and recklessness.

There is so much glitz and glamour in the stage design that it, apparently, takes a lot of power to operate because there were many microphone issues in the first half that culminated in an unplanned break in the performance while the crew dealt with technical issues. Granted, these things are unpredictable and sometimes unavoidable, but it does jolt you back to reality and detract from the experience, especially since we were only one song away from intermission. The cast was really great about the situation; the scene was cut as Gatsby asked Daisy, "Do you like it?", referring to his extravagant home. After the forced break, Smith quipped, "Do you still like it?", much to the audience's delight. Even Ahmady could barely hold back a chuckle, which was endearing.

The dance sequences, choreographed by Dominique Kelley, are fun and just about what you would expect from a show set in the roaring twenties: plenty of twirling, and tapping in big, bombastic numbers. Likewise, Linda Cho's costume design is colourful and glittery, with a plethora of sequins, fringes, and headpieces consistent with the flapper era.

Where the show falters is with its score (music composed by Jason Howland, with lyrics by Nathan Tysen). The jazz-inspired songs are pleasant enough and give off the right vibes for a musical set in the 1920s. However, they are not memorable; so, you are unlikely to be humming them on the way home, let alone adding them to your favourite Broadway playlist. The songs merely serve the moment instead of enhancing it.

Cast performances are very good, despite the microphone issues that plagued the first half of the musical, rendering some lyrics and dialogue difficult to hear. By act two, the sound was vastly improved and, hopefully, these technical glitches will have been limited to the opening night. Smith had the stand-out performance of the night with incredible vocals, especially during "For Her". Grosso also shines as the naïve, but good-hearted Nick and clearly demonstrates how out of touch his character feels among the upper crust of society. Ahmady holds her own with the role she is given, but Daisy's songs do not make the most of Ahmady's vocal abilities. Branner, the villain in the story, successfully renders his character utterly despicable! Branner and Ahmady have good chemistry as well; Ahmady's resigned acceptance of Tom's behaviour is unnerving to a modern audience. Smith and Branner's performances showcase the differences in their characters' treatment of Daisy; even though both ultimately see her as an object to be obtained rather than an equal partner to be loved. I was also impressed with Leanne Robinson's performance as Daisy's friend and Nick's love interest, Jordan. Robinson's vocals are incredible, and the actor portrays the clash between her character's independence and Daisy's captivity extremely well.

Some Broadway fans will recognize cast members from Broadway Across Canada 2022-2023 season's touring productions: Ahmady was Jasmine in Disney's Aladdin (click links to interview and show review) and Justin Scott Brown (ensemble) understudied Steve on Jagged Little Pill's opening night in 2023 (click the links for interview and show review). I have also personally had the pleasure of seeing Jake David Smith as Prince Oliver in the off-Broadway production of Between the Lines.

Ultimately, this version of The Great Gatsby dazzles far more than it provokes. The show's shimmering sets, sparkling choreography, and committed cast performances make for an undeniably enjoyable night at the theatre, but the musical becomes so absorbed in the love triangle between Gatsby, Daisy, and Tom that it never fully embraces the novel's darker undercurrents or its social commentary. If you arrive looking for spectacle: the glitz, the glamour, and the escapism of the roaring twenties, you'll find plenty to enjoy. Just don't expect Fitzgerald's haunting critique of the American Dream to linger after the curtain falls.

Broadway Across Canada's presentation of The Great Gatsby is on stage at the National Arts Centre through September 13, 2026. Get tickets at the link below or click here for more information.

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