Gatz Review: An Eight-Hour Immersive Journey Through The Great Gatsby
In a remarkable theatrical feat, the New York-based company Elevator Repair Service presents Gatz, a production that transforms F. Scott Fitzgerald's iconic 1925 novel, The Great Gatsby, into an eight-and-a-half-hour immersive experience. Staged at Her Majesty's Theatre in Adelaide as part of the Adelaide Festival, this show defies conventional adaptation by reading the entire novel aloud on a stage set as a drab office, creating a transfixing blend of literature and performance.
A Unique Theatrical Concept
The premise is simple yet profound: a man enters his office, finds his computer malfunctioning, and stumbles upon a copy of The Great Gatsby. As he begins to read, his colleagues gradually embody the novel's characters, unfolding the story word by word. This is not a traditional adaptation but an exploration of non-dramatic texts, resulting in a work that feels both strange and familiar. Audiences describe it as akin to listening to the greatest audiobook or attending a live radio play, culminating in a sense of communal joy reminiscent of a favourite teacher reading aloud.
Dynamic Performances and Narrative Twists
Gatz establishes a narrative model where actors toggle between office personas and literary characters, only to subvert expectations at every turn. For instance, one performer inexplicably carries a faulty computer on and off stage, while the sound technician occasionally steps into the action. A googly-eyed puppet briefly portrays a child, adding whimsy to the production. Just as viewers grasp the rules, the show shifts, keeping the experience fresh and engaging.
Scott Shepherd delivers a staggering performance as Nick Carraway, the novel's narrator. His vocal cadences, precise delivery, and blend of urbane wit with profound insights create an astonishing effect, making Fitzgerald's prose both pleasurable and impactful. Shepherd captures Carraway's compassionate yet morally tormented nature, offering a timeless interpretation.
Supporting actors shine as well: Jim Fletcher portrays a bald, older Gatsby, contrasting with the novel's youthful image; Lucy Taylor embodies Daisy's brittle vulnerability; and Susie Sokol brings hilarity to Jordan Baker. John Collins directs with masterful control over mood and pacing, ensuring the ensemble's cohesion.
Thematic Depth and Staging
The production delves into themes of time and money, mirroring Fitzgerald's critique of wealth and privilege. Louisa Thompson's set design features an anachronistic office with typewriters and fake wood panelling, evoking a retrograde era. Colleen Werthmann's costumes are deliberately low-rent, undercutting the novel's opulent world. This approach challenges the text rather than merely illustrating it, mining the gaps between theatrical and novelistic forms.
Characters often react to Shepherd's reading, an impossibility in the novel but effective on stage, blurring reality and fiction. Set in a scuzzy work environment, Gatz juxtaposes the novel's privileged sphere with mundane office life, making it both deferential to the source and thrillingly subversive.
Cultural Resonance and Universal Warning
While The Great Gatsby may hold different cultural weight in Australia compared to the US, where it critiques national character, this production frames it as a universal cautionary tale. The "careless people" who destroy and move on are portrayed as more venal and powerful today, with Carraway's humanistic vigilance offering a benediction for both a lost age and our future. Gatz runs until 15 March at Her Majesty's Theatre, Adelaide, as part of the Adelaide Festival.
