The Great Gatsby

Sometimes something comes along that is completely left field from quarters you simply weren’t expecting! On this occasion it is a teenager who takes a complicated classic of American literature and writes an adapted script whilst changing the gender of the title character, thus updating the sexual attitudes of the very misogynistic Jazz age. Then not content with that, she directs the show as well as taking a main character role. And what an engrossing production she came up with. It would appear we have a new talent coming to light in the form of eighteen-year-old Chloe Carpenter.

If I remember the novel correctly, the story, told through the eyes of his next door neighbour Nick Carraway centres around self-made millionaire Jay Gatsby and his obsession to rekindle a love affair with Daisy with whom he had a relationship in his youth. He throws extravagant parties in the hope that one day she will turn up at one. In Carpenter’s updated version she turns Gatsby into a woman, albeit entirely dressed or disguised as a man and explores the mystic side of Gatsby, as well as societies disapproval of same sex relations and Gatsby’s secret association with the underworld from which she made her fortune. It was certainly very well thought out, basically keeping all the main characters but giving them some clever twists.

The set, under the management of Philip Allen was simple and mostly to black flats with the Dr. T.J. Eckleburg Eyes, prominent on the rear wall, a macabre image of giant disembodied blue eyes which are covered by yellow spectacles. originally a genuine giant billboard of the day advertising glasses and described in the novel as being in the middle of a strange grey landscape. It was dressed by Marion Hynes and various furniture such as a two-seater sofa, table and chairs etc. With some deft plotting by the director these were used very well indeed, although they didn’t really give me the impression of the Jazz age. Nevertheless, with fourteen quick fire scenes speed of scene changing was the priority, and there I have to say some were much quicker than others. For the more surreal and particularly the ending scene were done using a backlit gauze, which was extremely effective. I’m not sure about the car scenes with just a steering wheel to signify it, but I can understand why doing anything better would not make economic, or even artistic sense in terms of quick scene changes.

Lighting by Nick Endacott was essential to the atmosphere and very well done, achieving this with excellent timing and making particularly good use of a tracking spotlight, operated by Mia Impey, whenever the narrator, Nick was in front of the curtain, and certainly adding to the dark atmosphere of the play. Nice job! Sound by Mark Sheppard I didn’t even think about, which always means it went well and without a hitch. Again, nice job!

With my limited knowledge on the attire of the roaring twenties, Costumes by Chloe Carpenter, Marion Hynes Norma Henderson and the cast using everyday formal attire for the men and ankle length dresses for the ladies certainly created the twenties. Gatsby dressed entirely in her male attire was particularly striking .

Christopher Herman as Nick was a clear and concise narrator and guided us through the complex emotions and plot with a deft touch. He was the glue which held the play together and in that I certainly can’t fault him, he showed considerable skill in delivery of his extremely long speeches. Excellent performance.

From the opening scene with Gatsby, played by Alison Struthers in evening attire, watching the green light across the bay, I was intrigued with this gender swapping performance, and I have to say she nailed it to the floor and made it a very memorable performance indeed with an air of both mysticism  and aloofness, the neighbour that Nick attempts to understand . A brave performance of this controversial gender swapping character.

Edward Frizzelle, gave us the misogynistic bully Tom showing the hypocrisy of the character and the age very well, clearly highlighting it’s all OK for him to have a mistress and to hit women, but not when the boot’s on the other foot. A large gasp from the audience for the extremely realist slap when he knocked Myrtle, his mistress, down.

Daisy played by the author/director herself gave us a very credible performance of the object of Gatsby’s desires and a typical flapper of the roaring twenties where women were just beginning to enjoy a new found independence.

Liza Van Duzer played her friend and companion Jordan and was an excellent foil.

Zep Tocco it turns out does gangsters rather well, with a very menacing portrayal of Gatsby’s secret business partner in the bootleg trade, Wolfsheim. You certainly wouldn’t want to cross him!

Tayla Blackman was Tom’s mistress Myrtle, again very well played, another flapper taking advantage of Tom behind the back of her husband. Car mechanic Wilson was played by Roy Pollard who also played Mr McKee. Elaine Impey played three roles: as party goer Mrs McKee, The Butler and the Cop. The cast also took on the role of Chorus and consisted of Tayla Blackman, Edward Frizzelle, Chloe Carpenter, Roy Pollard and Zep Tocco.

So well done to Chloe Carpenter, her cast and crew. A very sophisticated thoughtful piece of theatre, and thoroughly enjoyable. I very much look forward to seeing what she comes up with next..??

Finally, many thanks to Maxine Tocco and her FOH crew who looked after us royally!

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