Transport yourself to the opulent world of the 1920s as one of the greatest American novels hits the greatest American stage. Starring Jeremy Jordan(Newsies) as the eccentric and mysterious millionaire Jay Gatsby and Eva Noblezada(Hadestown) as the enigmatic Daisy Buchanan, The Great Gatsbyarrives on Broadway after a record-shattering, sold-out run at Paper Mill Playhouse. Directed by Marc Bruni (Beautiful: The Carole King Musical), this story of extravagance and longing features choreography by Dominique Kelley(So You Think You Can Dance), a book by Kait Kerrigan (The Mad Ones) and a jazz- and pop-influenced original score by Jason Howland (Little Women) and Nathan Tysen (Paradise Square). Don’t miss the party — get tickets today to the musical that The New York Times calls “lush, bewitching, and dazzling!”
"The first half seemed rushed trying to build the plot. I wish they had reimagined it instead. The original parts of the play were very good. All the scenes seemed rushed to add in some movie elements and original elements and at times it was a little too staged for my liking. The set design was masterful and beautiful, and the costuming was visually stunning! The actors were great and so were the songs. Definitely glad we saw it but would rank it in the middle range when compared to other works we’ve seen. "
...
Read more
Lisa D from Birmingham on Oct 13, 2024
"The story was the same. The costumes were colorful, the dancing was energetic, the sets were absolutely amazing. The music was OK - lively, but not hum - able. What I didn't like was the singing. There is a difference between singing and shouting. "
...
Read more
Broadway.com Customer on Jul 29, 2024
"I liked the costumes, dancing—especially tap dancing—singing, sets—videos enhanced the look of the production.
High notes seemed almost out of place for Gatsby.
"
...
Read more
Broadway.com Customer on Jul 8, 2024
"Liked the stage setting, costumes and dance routines. The book adaptation is OK, some important parts are skipped (Gatsby's real back story) and the character of Daisy is certainly not represented as it truly is in the book. While it does depict the privilege and selfishness of her and the rich, it could have been handled better. "
...
Read more
Karin S from Bonita Springs on Oct 1, 2024
"This is a slow-roll. For the first few minutes, you are wondering "What in the heck is going on? Who is this guy?"
It's not clear if the first character is a narrator or someone important to the story (spoiler; it's the latter).
The dialog is meh. The dance numbers are so-so. More "flare" and "oo-ah" than entertaining.
Everyone is there to see the two leads. That's it. The show really has nothing else to offer.
You will not be talking about the show after about a week.
Listen to the album. You know that one or two songs that you can actually stand putting on "repeat" a few times? Those are the best ones. And even those are left out to dry, to stand on their own. No foundation. No carry-over. No reason for the songs to really exist other than to have a couple of songs the two leads can show their talents with.
If you have one show to see, pick something else. Or stay home and watch the movie. It's the same story and is just as memorable.
"
...
Read more
Broadway.com Customer on Aug 9, 2024
"Liked the sets, dancing, and music. Content inappropriate for kids!"
...
Read more
Broadway.com Customer on Aug 8, 2024
"The dancers were fantastic. The lead singers were very good. Not enough action in the play."
...
Read more
Broadway.com Customer on Aug 3, 2024
"Choreography, costumes, set design, lighting, pit orchestra and the talent: all excellent. The production as a whole: nope. It didn’t know what it was doing or where it was going. Was it a comedy? It tried, but it shouldn’t have. For a musical set in the jazz age, some jazz - or even a nod to jazz - would’ve been welcome (frankly I think it was necessary). Each song sounded as if it had been composed for a different musical: no cohesiveness whatsoever. I can only remember one motif (“Dai——-sy!”). Early in Act II characters Nick and Jordan sang what I could only describe as a 1980s watered-down Jeffrey Osborne-esque song, but not a good one and not one that I can remotely remember (or want to). The ensemble was underused once Act I properly got underway. While the actor who played Nick is super talented, he made Nick sort of clownish. I don’t recall a clownish Nick from the book. Other than the costumes, I didn’t feel we were in 1925 (certainly not from the music). I also didn’t get a sense of the slow, sloppy, hot summers of Long Island that were depicted in the book. Perhaps this musical shouldn’t have been a musical at all. It would’ve made a brilliant play, as long as key parts of the book were included (many weren’t in the musical). Jeremy Jordan is of course a huge talent, but several times in his songs he emphasised a break in his voice that sounded almost like the beginning of a yodel. I’ve heard a few male MT stars do the same thing so I’m guessing it’s a fad, but one that I hope soon passes. Mr Jordan’s voice is glorious without it. All in all, TGG doesn’t know what it wants to or should be. At least that’s what screamed at me up in the mezzanine. It just didn’t work. PS The majority of the audience was shocked by the ending (which I won’t spoil here), judging by their gasps and screams. Is the book no longer on school reading lists?!"
