Review: THE GREAT GATSBY at Theatre In The Round

There’s a reason The Great Gatsby keeps finding its way back onto American stages. The story may take place in the 1920s, but its characters are still dealing with things that haven't gone away: money, social status, jealousy and obsession.

Theatre in the Round Players opens its 75th season with Simon Levy’s adaptation of F. Scott Fitzgerald’s novel, directed by Vanessa Brooke Agnes. In the company’s small arena theater, the production puts the audience right in the middle of Gatsby’s world.

Gavin Webb plays Nick Carraway, who arrives in New York and quickly becomes acquainted with his wealthy neighbor, Jay Gatsby. Nick soon finds himself caught up in Gatsby’s attempts to reconnect with Daisy Buchanan, a woman he has never stopped loving.

Jake Leif brings plenty of charm to Gatsby, but there’s also something uneasy beneath the surface. He has spent years building a life that he hopes will lead him back to Daisy. Leif captures both Gatsby's excitement when that possibility seems within reach and the desperation that follows when reality doesn't match his expectations.

Nina Broberg gives Daisy a softer presence. She is attractive and engaging, but there is also a sense that she isn't entirely sure what she wants. Her scenes with Gatsby have genuine warmth, although it's clear that the two don't see their relationship in quite the same way.

John Blocher makes Tom Buchanan an imposing presence. Tom is used to getting what he wants and isn't particularly interested in being challenged. Blocher brings out the character's arrogance and temper without turning him into a cartoon villain.

Webb's Nick is an effective center for the story. He begins as someone fascinated by the people and lifestyle surrounding him, but that fascination gradually wears off. As the consequences of the characters' decisions become harder to ignore, Nick's perspective changes along with them.

Kendra Alaura, Ian Fee and Sydney Payne add strong work as Jordan Baker, George Wilson and Myrtle Wilson. Their characters also broaden the story beyond Gatsby and Daisy and show how the decisions of the wealthy characters affect people outside their social circle.

Live saxophone from Maje Adams adds to the atmosphere. Rather than simply using music as background, the production makes the Saxman part of the world onstage. It works particularly well in the intimate Theatre in the Round space.

The set, designed by Michael Haas, makes good use of the theater's unusual configuration. Chad Van Kekerix's lighting and Emma Shook's costumes also help establish the period without distracting from the actors.

The production works best when it allows the characters to carry the story. The close quarters make the relationships feel personal, and the audience is never far removed from the tension building between them.

Theatre in the Round doesn't try to turn The Great Gatsby into a spectacle. Instead, this production relies on its cast, the live music and the intimacy of the theater. The result is a familiar story presented on a human scale.

As Theatre in the Round begins its 75th season, The Great Gatsby is a fitting opening production. It's a well-known American story, but the arena setting gives the audience a close-up view of the characters and the choices that ultimately shape their lives.

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