Eva Noblezada Reflects on Her Year in The Great Gatsby, Her Decade on Stage and Her Broadway Romance

Eva Noblezada puts a fascinating spin on “golden girl” Daisy Buchanan in the ultra-luxe Broadway musical adaptation of F. Scott Fitzgerald’s The Great Gatsby. This is no meek heiress, torn between the mysterious title character and Tom Buchanan, her blatantly unfaithful louse of a husband. The Mia Farrow/Carey Mulligan movie template has been set aside in Noblezada’s self-possessed, beautifully sung performance. Paired with Jeremy Jordan as Gatsby, she brings a 21st-century relevance to this 100-year-old story of the American Dream gone sour.

Daisy is Noblezada’s third leading role on Broadway since receiving a 2017 Best Actress Tony nomination at age 21 for Miss Saigon. Her second Tony nod came two years later as Eurydice in Hadestown opposite Reeve Carney, now her partner in real life. Away from Broadway, Noblezada showed off her vocal range and cheeky humor in the Audible Original concert “Nostalgia: A Love Letter to NYC.” In a recent pre-performance chat with Broadway.com, she emphasized her ongoing love of stage acting and gave a supportive shout-out to that other Gatsby musical.

You’ve been working on the character of Daisy Buchanan for a year now. What’s it been like to play such a legendary heroine, and what’s been the biggest challenge?

Going back to a specific moment in time, when I read the book in high school there were a lot of things I didn’t pick up on. It’s such a glamorous book, but you don’t see [Daisy’s] strength in the book or the movies, which is heartbreaking. Her power can only go so far because she doesn’t really have any. Even the fact that Daisy gets [her own] songs is something audiences haven’t experienced before. Our team kind of rewrote her inner monologue, and that’s been a great thing to discover. It’s also a huge challenge because people have expectations about what they’re going to see.

What do you love about the music, including your solo numbers “For Better or Worse” and “Beautiful Little Fool”?

One of the things I love is just singing with an orchestra. It’s been years since I’ve sung with a full pit every night. Jason Howland writes music that envelops you; it’s like a magic carpet ride. You know how they say that [characters] sing when they don’t have anything else to say? That’s a beautiful translation of what this musical is. When a character doesn’t know what to say, they let the song turn their dreams into reality.

It must feel good not to have to conform to a stereotype—your Daisy is not a flighty blonde.

I would love to be a blonde, except I tried that once and all my hair almost fell out [laughs]. In my original audition, I thought that’s what they wanted. I went in with the attitude of “I’m wearing a slicked-back brunette bun right now, but I hope you’re picturing me in a blonde wig.” Thankfully, the creative team and casting people said, “No—we’re just looking for the person who’s going to be Daisy.” That was amazing, and without that open perspective, I don’t think I would have gotten the job.

How do you stay motivated in a long run?

I love a long run! I love having a job. I’m very grateful for that. The fact that my job is something I dreamed of doing since I was a little girl is extra special. Theater is not just for escapism—it’s also a reminder that our world can be bigger than we imagine. It’s so powerful in that way. I would love to dabble in movies and TV, but my home is being on stage. It can be difficult to keep that strong sense of gratitude when you’re exhausted, but the joy comes from making the art, and it’s a privilege to do it eight times a week with this cast.

What has your partnership with Jeremy Jordan been like?

It’s been great. We can walk on stage knowing that the scenes and songs are going to go in a way we can be proud of, which is the best thing you can ask for with any scene partner. Jeremy is awesome, and also Noah Ricketts [as Nick Carraway], Sam Pauly [as Jordan Baker], John Zdrojeski [as Tom Buchanan]—all these phenomenal actors who bring so much to the show every night. It’s a team effort, and the sense of family and community in the building is very strong.

Are you curious about the other Gatsby musical [which debuted in Cambridge, MA, in June with a score by Florence Welch]?

Of course I am! I’m a musical theater slut—I want to watch everything. I’m really annoyed that I couldn't find the time to get on a train to Boston. I have so many great friends in that show, so of course I would love to see it. I don’t give a sh*t about “this Gatsby versus that one.” Whoever is saying “versus” just wants a good story. It’s not even the same type of show. It’s a completely different perspective that sounds so interesting and so deep and cutting and real. For the artists on stage, it’s never a competition, because what we’re doing is so different. That’s also what I feel about awards—there can’t be a “best,” in my opinion.

You’ve starred in three big musicals before the age of 28. What would you tell 18-year-old Eva, headed to London to play Kim in Miss Saigon?

I wouldn’t tell her anything because she knew she was ready. I’d probably tell her to take care of herself. At 18, even if I wanted to give myself advice, I didn’t have listening ears. I always knew where I was headed, and I wanted to run for it, so I probably would have been like, “Bitch go! Live your dream and work hard.” I don’t think I would have taken any advice, but I did know I was lucky—Miss Saigon was a big show, and the fact that I got to do it in London and on Broadway was a huge, huge opportunity, and I never forgot how much of privilege it was.

Your Audible concert “Nostalgia” is such a fun surprise, with songs like “Bésame Mucho” and “Cheek to Cheek.” You could have an alternate career as a jazz singer.

That was one of my dreams growing up. I wanted to be an opera singer at first, and then I thought maybe I should do jazz. I give total credit to my dad, who played alto sax in school and was always listening to jazz around the house. He was my first big influence when it came to jazz—how you can integrate it into your everyday life and how it opens your mind as a musician. It’s one of my favorite genres.

You’re also a bit of a fashionista—and now a scarf designer?

I was shocked when Echo the brand reached out and asked if I would want to design a scarf [with half of the proceeds benefitting Project Broadway]. They asked 100 people around New York City—a chef, a poet, a ballerina. I’m an artist, but I don’t put it out there because it’s just something that makes me happy and relaxed. I love watercolors, I love pastels, I love to paint, so [the scarf] was a fun thing to do and helped me get over the fear of showing people what I’m working on. I love fashion, but I don’t like spending a lot of money on clothes. All my clothes, pretty much, are secondhand. I like to dress with spunk, in things I feel comfortable in.

How do you and Reeve [Carney] continue to support each other professionally and personally?

We were best friends first, and having that solid foundation is one of the biggest blessings of my life. You’ve seen his work and heard his voice—there’s nothing he can’t do, so how can I not be a huge fan and want to see more, more, more from him? And he’s the same way: As artists, we do different things, and I’m extremely thankful to have a partner who is so supportive.

You’ll always have the memory of co-starring in Hadestown when you were young and beautiful.

I know! We did our first concert together about a month ago in Detroit, and we sang “All I’ve Ever Known.” It was so strange to do it out of context, knowing the history we have with the show and the song and each other, but it was quite beautiful.

Any post-Gatsby plans, whenever that ends up happening?

Resting. Other than time off for the pandemic, I’ve been doing eight shows a week for 10 years. I want to write music; I want to sit and paint all day and not change out of my pajamas; I want to go on dates with my partner other than on a Monday night when the city is quiet. I have a lot of life to catch up on.