A Review of Scar Theatre’s The Great Gatsby

We are all familiar with the glitz and glamour surrounding The Great Gatsby, whether because of our own perusal of the thin volume or due to Baz Lermhan’s star studded adaptation. The aesthetic that has risen up around the story is widely loved and represents the popular image of the Jazz Era – fun, excess and glitter. With this cult following in mind, it was with anticipation that we waited to see how Scar Theatre had interpreted this classic. There was much speculation leading up to opening night and it was with interest that I attended on the final night. What we were greeted with was an array of projections, dance routines and familiar faces from across Oxford Drama.

Entering The Playhouse, the first thing likely to strike the audiences was the presence of the green light, gently flashing at the peak of the stage’s arch. This nod towards the emotional centre of the story before the curtain even rose settled the audience instantly into the world of Gatsby’s obsession and dream. I remember the excitement at the sight of the small bulb, the curiosity as to what the next few hours would hold. The answer was the familiar story of lost love with modern overtones that touched more explicitly upon the racism and sexism found within the novel. Our glamorous host was a woman, those downtrodden by Tom Buchanan, and eventually Daisy, were from ethnic minorities. This casting statement was clear and drew the play in a particular direction that certainly worked successfully. A female Gatsby was an interesting choice, adding nuance and depth to the tale, but depriving the story of other plot lines such as any possible chemistry between the titular character and our narrator. Nick Carroway’s character was still maintained as gay, however, as illustrated in a heated moment between the character and Tom. Equally, the casting choices for Wilson and Myrtle were clear statements about the racial undercurrents of the play and the period in which it was set as well as highlighting the traits of Tom’s personality. The character was undoubtedly the villain of the piece, with Roman Pitman’s portrayal being one of lazy arrogance and quiet antagonism until those flaring moments of anger in which the actor confidently conveyed Tom’s hidden power. Alongside Tom, Lily Carson’s Daisy was wonderfully whimsical and believably emotional in a way that I feel that the character sometimes fails to be. Carson’s Daisy seemed genuinely heartbroken about the death of Gatsby rather than coldly leaving without expressing any sentiment at all as seen in some versions.

As with every performance, the shadows of earlier shows can be seen throughout the directorial decisions. The most striking of these was one of the spectacles of the glamourous show – namely the confetti. The shower of confetti over the stalls was undoubtedly one of the standout moments of the performance, highlighting that magical moment of reunion between Gatsby and Daisy and echoing the current West End immersive production. There was certainly a cinematic intention behind the choices made, from the dance sequences to background music sung by the acapella group The Oxford Alternotives. The ensemble dance highlighted the priority of glamour at Gatsby’s parties, proving the importance of a strong collection of supporting actors. All of the smaller roles were played by talented actors and dancers who breathed life into the world, with my only complaint being that there easily could have been more… the parties could have been fuller and the world yet more vibrant. There was the sense occasionally that the stage was a little empty, which may well have been due to the decision to extend out over the orchestra pit, having the orchestra behind a curtain at the back of the stage. This almost thrust style staging allowed Ethan Bareham’s Nick to narrate the story from the space, stepping back into the action that was often unfolding on the main stage behind him. This was an excellent choice, being employed throughout but most memorably during the opening sequence and Jordan’s remembrances. Bareham’s Nick was excellently performed, the actor’s natural talent being clear to see. Equally, Pablo Wickham’s Wilson was powerful, particularly during his final scene. The death of Gatsby was arguably the most powerful scene of the entire show, being emotionally fraught and perfectly tense. Perhaps the scriptwriting took a turn away from the book and its meaningless death; however, it was a perfectly written and orchestrated scene and therefore raises no complaint from me.

If any complaints were to be made, they would merely be small things; such as the ability to see the set changes taking place behind the screen or the lines lost to the background music or songs. The latter were modern love songs, which was certainly an unexpected element but somehow worked within the context of the interwar story. It leant a soft modern element to the well-known story and backdrop for the dance between Gatsby and Daisy. This is a story that has been adapted for stage many times before and some of those can lean towards the slightly dull due to the long exposition passages and the occasional drag to the story, yet this performance did not have me bored in my seat. The writers were able to keep the narrative moving, alternating between Nick’s storytelling and his participation in scenes with success.

At the end of the day this is story that is close to many people’s hearts due to the frivolous glamour of Gatsby’s parties and the dream of the Jazz Age that permeates the world. Scar Theatre’s adaptation of the story was one which successfully captured the wide-eyed wonder that keeps people hooked even a century later; however, there could have been more… more glamour, more ensemble, more greatness. There were many talented actors within the cast and their skill was showcased for all to see. These powerful performers coupled with the bold decisions made in regard to the messages and themes that the directing chose to highlight made for a striking modern interpretation of the classic.