Tag Archives: John Owen-Jones

“The Great Gatsby” at the London Coliseum

F. Scott Fitzgerald’s classic novel, which celebrates its centenary this year, has been turned into a big Broadway musical by Jason Howland and Nathan Tysen, with the help of onstage cars and plenty of fireworks. Still running in New York, the Coliseum is a suitably splendid London home for a production that proves value for money, even if it lacks surprises.

This show is a tough one not to damn with faint praise: it’s competent, easy, and enjoyable. Kait Kerrigan’s book is a case in point; as an adaptation it is efficient, clear and comprehensive… but also simplistic. Kerrigan doesn’t assume we all know what is going on with the nouveau riche Jay Gatsby and his former, now married, sweetheart Daisy. The affair, alongside Daisy’s husband’s adultery and a romance for her cousin Nick and friend Jordan, makes for a plot that’s interesting enough, but a little like a soap opera.

The show isn’t sure how funny it wants to be; can we laugh at these old-fashioned views, or do we just condemn them? And Gatsby becomes a bit of a joke himself – rather than a mystery – which is a shame for the audience and Jamie Muscato who takes the lead role. The idea of showing Gatsby’s pretensions with a vaguely British twang jars (Muscato can do a better American accent than this). Frances Mayli McCann, who stars as Daisy, also suffers, with a big effort to make her character sympathetic. Their love isn’t questioned in the way Fitzgerald wanted. Both leads have the poorest songs; their fine voices – and they both sound great – cannot disguise this. 

Howland’s score is powerful, if predictable, with period references that are suggestive (including Gilda Grey is a lovely touch). The romantic numbers soar, just as you might expect. And the party theme is suitably catchy. Tysen’s lyrics are less accomplished, but they are clear, and I didn’t cringe. Both benefit from Marc Bruni’s direction and several numbers are elevated by Dominique Kelley’s choreography. An Act Two highlight, Made to Last, with all the main characters, is the only number complex enough to really impress.

John-Owen-Jones-The-Great-Gatsby-credit-Johan-Persson
John Owen-Jones

It’s with supplementary characters that The Great Gatsby does best. Corbin Bleu manages to make sure narrator Nick leads the show despite Kerrigan’s lack of interest in the character. There’s a plumped-up role for Jordan (now Nick’s lover) that Amber Davies makes the most of. And we get more of Meyer Wolfsheim, with the shady businessman’s connection to Gatsby made explicit, leading to a rousing number for John Owen-Jones.

Corbin-Bleu-Rachel-Tucker-and-Jon-Robyns-in-The-Great-Gatsby-credit-Johan-Persson
Corbin Bleu, Rachel Tucker and Jon Robyns

Tom and his lover Myrtle are the big surprise, two strong roles for Jon Robyns (who makes a great villain) and Rachel Tucker, who is excellent as always. It’s a pity Myrtle’s long-suffering husband George isn’t elaborated more (not least for Joel Montague who does well in the role) but all together the show feels hefty enough, and the characters contribute to a general air of satisfaction.

Daisy gets a clumsy finale, almost the last word, lamenting the fate of women and coming close to claiming victim status. It’s not that she’s wrong, just that neither the character nor Fitzgerald would say it. While it isn’t a bad thing to break away from source material, that this is the boldest move only highlights that the show needs more inspired touches. There’s nothing embarrassing here and a lot is done well, it just fails to excite.

Until 7 September 2025

www.london.gatsby.com

Photos by Johan Persson

“The Wild Party” at The Other Palace

The renamed St James Theatre, now in Lord Lloyd Webber’s portfolio, has the new raison d’être of trying out and refining musicals. And there’s the aim of starting conversations from artistic director Paul Taylor-Mills that warms a blogger’s heart. The first show, by Michael John LaChiusa, is a strong start, but a puzzle, too. Seen on Broadway in 2000, it already seems so cogently formed that there is little new to talk about.

The piece is experimental in that it is based on a poem – by Joseph McClure March – can anyone think of another musical apart from Cats with such a source? George C Wolfe’s book is structurally audacious and, while the scenario couldn’t be slimmer – someone holds a party, that’s it – the tension ratchets up and up. Both music and lyrics have little time for novices or a discernable eye on commercial success. The milieu here isn’t that familiar to a British audience (jokes, in particular, are a touch obscure) but LaChiusa’s knowledge of American music is obviously profound.

A good portion of the show is a series of introductions. Taking the lead is Queenie, a dancer in Vaudeville, brilliantly portrayed by the legendary Frances Ruffelle, who gives this tart-with-a-heart appropriate depth. Her common law husband, played by John Owen-Jones – also tremendous – ensures the show is not one for coulrophobics. This complicated relationship is the vehicle for exploring obsession and dependence.

John Owen-Jones and Victoria Hamilton-Barritt
John Owen-Jones and Victoria Hamilton-Barritt

Presenting other partygoers gives the rest of the ensemble a chance to shine. Dex Lee is particularly strong as the arch hedonist Jackie, a sophisticate who turns bestial. And, as Queenie’s best friend Victoria Hamilton-Barritt really gets her teeth into a juicy role. It would be hard to sacrifice any of these characters… but maybe more focus might have made the show more enjoyable? Combining high and low life and a mix of ages, races and sexualities has a point but means there’s a lot to handle here. And don’t forget a moral. Like many works of art about libertines, The Wild Party is a warning. When the bootleg gin arrives, complete with bathtub on stage, it would make Hogarth proud.

The venue’s aim as an experimental home is fulfilled for Drew McOnie. While his acclaimed choreography adds enormously to what could be a static affair, his remarkably assured debut as a director is the real story. The piece calls for strong acting and McOnie secures it. There’s a cutting pathos to many of the affairs. And a crazed wish for love, sex, drugs and ambition, with a scary intensity that McOnie doesn’t spare us from.

Until 1 April 2017

www.theotherpalace.co.uk

Photos by Scott Rylander