The Great Gatsby at London Coliseum
Following a hit Broadway run, The Great Gatsby makes its long-awaited West End debut at the London Coliseum. The palatial walls are undoubtedly a fitting backdrop for such a grand and sumptuous musical. Marc Bruni’s production is a bedazzling spectacle, with a multitalented ensemble cast bringing F Scott Fitzgerald’s modern American classic to life.
Corbin Bleu, of High School Musical fame, shines as the venerable narrator Nick Carraway. He quickly becomes entranced by the inner circle of New York socialites headed by the elusive Jay Gatsby (Jamie Muscato). Bleu is a superb lead, embodying Nick’s wide-eyed naivety and enchantment towards the 1%, while Muscato is suitably suave and a commanding presence as the titular playboy.
Notably, there’s more emphasis on the women of the story than previous adaptations have afforded (the 1974 film, which sorely underutilised Mia Farrow, comes to mind). Frances Mayli McCann expertly captures the dichotomy of Daisy Buchanan, who is equal parts shallow socialite and vulnerable flapper girl, ensnared by her material conditions. On the other end of the social strata, there’s the tragic Myrtle Wilson (played by phenomenal Wicked alumnus Rachel Tucker), trapped in a loveless marriage to her blue-collar husband while pursuing an affair with a wealthy associate of Gatsby. Regardless of which man she is with, the play does a good job of highlighting that Myrtle is a victim of the patriarchy either way.
There’s also the fantastic supporting cast, who are equally mesmerising during a series of seamless dance sequences. The Great Gatsby is a technical marvel, meticulously choreographed and flawlessly conducted. Every moving piece of stage design is slotted into place so precisely and diligently that one can’t help but imagine the painstaking months of rehearsal that preceded such a complex production. Jason Howland and Nathan Tysen’s score leans into roaring 1920s jazz staples, such as New Money, as well as traditional stage belters. End-of-act-one centrepiece, My Green Light is a rousing duet between Daisy and Gatsby that exemplifies the actors’ impressive vocal prowess.
Where the production falls short, however, is in its cursory nod to the underlying themes of the source material. Fitzgerald’s seminal novel was an exemplary exposé of high society hedonism, and the musical is a playfully garish visualisation of the aforementioned pitfalls of excess, but the class critique stops there. Save for the occasional sardonic reference to the characters’ shallow soirees and balls, there’s a distinct lack of commentary on bourgeois vulgarity. This omission feels rather cynical, perhaps implemented to placate Broadway sensibilities. However, as a purely lavish gala, the musical is a feat of escapism.
With impeccable performances, intricate dance sequences and grand costume design, The Great Gatsby is a must-watch for musical theatre aficionados. And, no doubt, it’s a party Gatsby himself would be proud of.
Antonia Georgiou
Photos: Johan Persson
The Great Gatsby is at the London Coliseum until 7th September 2025. For further information or to book, visit the theatre’s website here.
Watch the trailer for The Great Gatsby at the London Coliseum here:
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