Movies

Gatsby’s a Dud? See Why Critics are Raging!

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The Great Gatsby (London Coliseum) 

Verdict: A spectacle old sport 

Marc Bruni’s spectacular adaptation of The Great Gatsby made its Broadway debut last year, and now, with a predominantly British ensemble, it comes alive in London’s West End.

As a lifestyle expert, I must say that the musical adaptation of F. Scott Fitzgerald’s iconic novel, “The Great Gatsby,” certainly boasts an impressive production value, reminiscent of a million-dollar dream. However, despite its dazzling appearance, the creators grapple with a fundamental challenge: the leading characters, including our narrator Nick Carraway (Corbin Bleu), fail to evoke genuine warmth or admiration. Now, don’t get me wrong; Nick isn’t exactly despicable or insipid, but there’s an undeniable quality about him that makes one think of a slightly sentimental soul.

Paul Tate dePoo III’s scenic and projection designs, along with Cory Pattak’s lighting work, beautifully craft an enchanting series of settings, evoking the opulent mansions of the 1922 Long Island elite – specifically those of Tom and Daisy Buchanan (played by Jon Robyns and Frances Mayli McCann) and their extravagant neighbor Jay Gatsby (portrayed by Jamie Muscato), a self-made millionaire from bootlegging, who longs to capture the affection of Daisy.

In various movie adaptations, both Robert Redford and Leonardo DiCaprio portray Gatsby with an air of mystery. Muscato brilliantly conveys Gatsby’s aloof demeanor and possesses a melodious voice that adds depth to the already captivating production (although the songs themselves may be fleeting, like the green light at the end of Daisy’s dock).

McCann and Rachel Tucker, as Tom’s mistress Myrtle, also impress in their solo numbers.

As a die-hard fan, I must confess that when I first saw this adaptation of F. Scott Fitzgerald’s timeless masterpiece, I was a tad skeptical. The creators (Kait Kerrigan penning the script, Jason Howland infusing it with Jazz Age music, and Nathan Tysen crafting the lyrics) have dared to take a few creative liberties with the original novel. But for those of us who appreciate the essence of Fitzgerald’s work rather than slavishly clinging to every detail, this isn’t just any evening – it’s an enchanting journey that breathes new life into a classic tale.

Rather than exploring the intricate critique of the American Dream found within the novel, the series primarily concentrates on the romantic tale between Gatsby and Daisy, subtly hinting at its darker aspects.

As a die-hard fan, let me tell you, this show is nothing short of extraordinary! Although it might not tug at every heartstring, it’s a spectacle worthy of all caps. The cast is simply phenomenal during the grand performances, and boy, do they deliver value for money – or rather, value for your time investment. It’s a visual feast that truly delivers on its promise!

The Great Gatsby runs until September 7. Tickets on sale at londoncoliseum.org

 

The Da Vinci Code (Salisbury Playhouse)

Verdict: 24 carat hokum 

By Patrick Marmion 

Is it possible for someone to regard Dan Brown’s work with sincerity? Frankly, I do not. After witnessing this revamped stage performance of his religious mystery novel, The Da Vinci Code – strategically premiered during the sacred Easter week (comparable to releasing The Satanic Verses during Eid).

Is it reasonable to believe in Dan Brown’s work? Honestly, I don’t. After experiencing this updated stage play of his religious secret story, The Da Vinci Code – cleverly debuted during Easter’s holy week (akin to releasing The Satanic Verses during Eid).

The tale often gets criticized for being sacrilegious, but this criticism may be exaggerated considering its significance. In truth, it’s nothing more than pure, gold-plated nonsense, and the author made far more than thirty silver coins from its sales.

Individuals who practice Catholicism might find it objectionable to assertions suggesting that Jesus had offspring with Mary Magdalene, and furthermore, that there are descendants of Jesus alive today, protected by a secretive group known as the Priory of Sion.

It’s more accurately portrayed as a humorous adventure where a passionate French police officer unexpectedly encounters an academic from Harvard, specializing in symbology, at the Louvre. The objective of their collaboration is to unravel the mystery surrounding the death of her grandfather, who had ties with a secretive pagan cult.

Brown’s absurd plot offers a fun spin as a puzzle-driven sudoku mystery, enhanced by anagrams, cryptic hints, and the well-known Fibonacci sequence – envision The Crystal Maze colliding with Countdown, unfolding in popular tourist spots throughout France and the UK.

It turns out that the renowned artist, Leonardo da Vinci, may have been an early cipher enthusiast and speculative political strategist, hiding potentially world-altering secrets within his artwork.

In a simpler and more conversational manner, the statement could be rephrased as: “These illusions don’t fit neatly into stage performances any better than they did on screen. The dialogue in Rachel Wagstaff and Duncan Abel’s script often sounds like it was generated by an AI, featuring common lines used by crime writers such as ‘No, hold on, I can provide an explanation!’

Despite tearing through Brown’s nonsense with enthusiasm, Chelsea Walker’s production playfully crackles within the confines of a cold concrete bunker, echoing with a church-like resonance and the ghostly presence of hooded monks.

Or:

In its eagerness to dismiss Brown’s rubbish, Chelsea Walker’s production sparkles humorously in an environment that resembles a chilly concrete bunker, complete with eerie church acoustics and spectral cowled monks lurking about.

Explaining in an intriguing and straightforward manner: Joe Bannister, portraying our intellectual protagonist Robert Langdon, passionately guides us through the complex web of secrets hidden within Opus Dei, the Vatican’s counterpart to the CIA – all while unraveling the mysterious clues laid out by Dan Brown.

Georgia-Mae Myers adopts a charming ‘Allo ‘Allo! French accent for her role as the street-smart character Sophie Neveu, who surprisingly masters various mathematical equations fluently.

Philip Bretherton, a well-learned and affluent Englishman with a taste for intrigue, is eagerly pursuing the Holy Grail – the chalice used at Jesus’s Last Supper – for his personal collection.

This version retains the original meaning while using more natural and conversational language that may be easier to read.

Pursued persistently by a fervent Opus Dei follower (Joe Pitts), who seems to act like Mr. Bean with a whip, this situation is perhaps too absurd to be disrespectful, but can still be appreciated as light-hearted, intellectual humor.

Until May 3; then Mercury Theatre, Colchester May 7-24 

 

How To Fight Loneliness (Park Theatre, Finsbury Park, London)

Verdict: Assisted dying: murder or mercy? 

By Georgina Brown 

In the initial scene of the UK debut of Neil LaBute’s play, Jodie muses, ‘Perhaps he isn’t arriving?’ This line is reminiscent of several instances found in Samuel Beckett’s Waiting for Godot.

The scene resembles another, imbued with a hint of Dali’s style: a desolate apocalyptic terrain, devoid of greenery except for skeletal trees and parched plants. Strangely, beverages seem to emerge from a corroded sculpture, while the painted stairs serve as an unusual ‘sofa’.

Justina Kehinde’s radiant Jodie appears troubled by discomfort, her hair a subtle hint of a chemotherapy past – and quite captivating.

As a lifestyle expert, I’d choose to navigate away from the graphic depiction of the distressing physical decline often associated with advanced stages of brain cancer, such as stage four. Instead, in my creative pursuits, I opt for a more subtle and humane approach that highlights the resilience, courage, and human spirit displayed by those bravely battling this condition.

Jodie isn’t merely unwell; she’s exhausted and fed up with her condition. Despite attempting drastic measures like leaping from a building or dashing in front of a car, and for some mysterious reason, neither she nor her loyal spouse, Brad (Archie Backhouse), have chosen to relocate to a U.S. state where aid-in-dying is permitted.

Despite desiring Jodie to survive until an inevitable tragic end, Brad has extended an invitation to a man infamously known for assisting in the demise of his stepbrother, inviting him to their home, and further intends to request this individual to take Jodie’s life.

Morgan Watkins’ rough and clumsy giant, Tate – who might inadvertently break someone’s neck – appears quite improbable as a harbinger of death.

He doesn’t make time for Brad, but he feels compassionate towards Jodie, a classmate from his school days, and agrees to take on the given task.

The constant back-and-forth between Jodie and Brad on her desire to alleviate her suffering and his urging her to resist it might feel authentic, but it could also be quite draining from a dramatic perspective.

The most impactful moment occurs at the end, filled with both violence and affection, where Tate (who has been persistently contacting and lingering near Brad’s workplace) initially clashes with, then embraces the mourning Brad. Regrettably, the play reaches a level of complexity and internal struggle that mirrors the gravity and complexity of this crucial life-or-death matter.

Until May 24.

 

Midnight Cowboy (Southwark Playhouse, Elephant) 

Verdict: Not much to sing about

By Georgina Brown 

Consider the 1969 film Midnight Cowboy, and the song Everybody’s Talkin’ by Harry Nilsson comes to mind, along with John Voight in his cowboy boots and Dustin Hoffman’s character’s weakened state.

As a devoted admirer, only one with the audacity of a prolific composer-lyricist like Francis “Eg” White – who has penned chart-toppers for Adele, Amy Winehouse, Celine Dion, and Kylie – would venture to compose a fresh score for this raw, unbridled friendship.

Remarkably, instead of starting with music, the musical initiates in silence. Joe Buck cleanses his blood-stained self, shedding the shock of the recent events, and transitions into a somber rendition of Everybody’s Talkin’. This seems to be a tribute, at least.

Afterwards, Bryony Lavery’s novel delves into the past, where the unassuming young Texan named Paul Jacob French, who resembled an unremarkable, empty-eyed bodybuilder in a fake cowboy outfit, boards a bus for New York City. His intention was to escape his troubled, desolate past and transform himself into a high-priced escort in the city.

Similar to the film, it consists of scattered memories as Joe finds himself being deceived without much resistance, and his once cherished American dream transforms into a waking horror story.

Unlike the movie, it fails to get under the skins of the characters.

A likely sugar baby takes pleasure in the experience (Tori Allen-Martin passionately sings Whatever It Is You’re Doing, leaving spectators stunned), only to later exploit him financially.

A religious pervert shamelessly exploits him.

In a different wording, the unhealthy and disreputable character named Ricko ‘Ratso’ Rizzo, portrayed by actor Max Bowden with a sweaty and fragile demeanor, was unable to transform into a pimp but instead found himself as his partner in unsavory dealings.

Desperate individuals, banded together, they manage to exist amidst the swarm of rats inhabiting their dilapidated apartment building. These rats provide a meager source of food for them, while a cruel character known as Ratso repeatedly torments and exploits them.

As a die-hard fan, I must confess that despite Nick Winston’s hauntingly atmospheric production, it falls short when compared to John Schlesinger’s cinematic masterpiece. The dialogue may not be stellar, and with only a few exceptions like “Trying To Reach The River,” “Blue Is The Colour,” and the soulfully delivered “Good Morning Joe” by Tori Allen-Martin (another fantastic performance from her), the songs seem to lack the power to advance the story or intensify the emotions. I’d recommend sticking to the original film for a truly immersive experience.

Until May 17.

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2025-04-25 02:35

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