Champagne, chaos and calamity come to Cambridge in CUMTS’ The Great Gatsby

4.5 stars

Lucy Farmer reflects on the opening night of The Great Gatsby and its ability to both reinvent and stay true to Fitzgerald’s iconic narrative.

A beloved modern classic, renowned and cherished by individuals and educational institutions alike; CUMTS’ adaptation of Simon Levy’s The Great Gastby certainly had a prestige reputation to live up to. As one of the most highly anticipated productions of Lent term, it did not fail to deliver and live up to expectations as the fevered atmosphere of excitement rippled throughout the ADC bar and auditorium on opening night. Tally Arundell’s passion and commitment to Fitzgerald’s prose and elegantly lavish portrayals of the Jazz Age radiated through the production. What was captured so effectively by the production and acting teams, was the irresistible yet dauntingly exposing style of the novel – bringing the glitz, glamour, scandal and hollow morality of prohibition America to the Cambridge theatre scene.

There’s always a sense of nerve when watching a novel adaptation, which is undoubtedly heightened when performed for the intellectual circles of Cambridge. Yet the production’s faithfulness to the novel, aided by Simon Levy’s careful writing and use of excerpts from Fitzgerald’s print, alongside its theatrical flair and fresh take to Gatsby’s world was most striking. The acting of these well-known characters was impressive, with each actor clearly dedicated to their role, yet bringing their own personal interpretation. Nick Danby as the play’s narrator, Nick Carraway, perfectly encapsulated the novel’s portrayal of a somewhat unreliable yet well-meaning and outsider commentary. Danby brought a more sympathetic take to Carraway, with his candid style of direct address to the audience integrated seamlessly within the splendour and high action of the 1920s social sphere on stage. His character’s immersion in this world of scandal and superficiality is performed with emotional subtlety, making Danby’s portrayal reflective of human tendency.

Supporting characters in this production were particularly salient and caught the eye with their emotional complexity yet cool portrayal, helping craft this embedded and rich sphere of splendour and scandal. Mina Strevens held a magnetic stage presence, commanding the space around her when bringing to life the intricate character of Jordan Baker: her cynicism yet ultimate conformity to this shallow lifestyle. There was a natural ease to her precision, with relaxed mannerisms that contrasted the theatrical and uptight personas of other characters. Yet her ending speech to Nick illustrated the devastatingly human side to her flawed character, with a resonating, quietly stern tone.  George Wilson, acted by Michael Mundove, was frightfully impactful as he characterised the inconsolable reaction to Myrtle’s killing with a psychotic, chilling gaze into the audience. Breaking the fourth wall here, Mundove was able to play into the dramatic irony of the tragedy as we realise that this crazed anger will lead to the climatic and iconic ending of Gatsby’s death.

Gatsby himself proved nothing short of spectacular, portrayed by Eddie Luchmun. The cool delivery of his iconic catchphrase “old sport”, his overly theatrical mannerisms and tone of voice helped embody this man of mystery who curiously seems to lack substance. Luchmun masterfully depicted the futility of this opulent lifestyle, all in service of the object of his deep-rooted affection – Daisy Buchanan. Played by Mia Lomer, Daisy’s whimsical yet poignant and deeply aware energy filled the auditorium and when acting alongside Luchmun, held electric chemistry. The motif of dancing between the couple to an orchestral wartime song, was highly effective in conveying their rejection of reality and desire to immerse into nostalgia. Yet Arundell works hard here to firmly underscore that “you can’t repeat the past”.

Even so, it certainly seemed as if a realistic sense of 1920s America was brought to the ADC on opening night, with the skilful and convincing use of accent from all characters. The use of an ensemble here, to emulate the aesthetic glamour of Gatsby’s roaring lifestyle, was not only visually pleasing but made for smooth and sleek transitions. This was accompanied by the genius use of a live band, who proficiently filled our ears with the tunes of the jazz age from the moment audiences were seated and walked out. The featuring of key symbolic items of set was pleasing to the eye and literary fanatics, as the yellow car and the pool (creatively built from underneath the stage and present throughout as a foreboding reminder of Gatsby’s inevitable death) showcased an inventive manipulation of the ADC’s space. Especially memorable, was the frequent use of the symbolic green light which lit up audience members in the play’s final moments as a reminder of the unattainable dream at the heart of this glittering tragedy. There were moments, such as Myrtle’s death scene, that felt slightly abrupt and could have been punctuated more with music or other effects. Nevertheless, the overall aesthetics and dramatic impact of the play was maximal, proving to be just as polished and lavish as Gatsby’s own parties.

Showcasing some of Cambridge’s finest theatrical talent, the alluring glitz and glamour of The Great Gatsby certainly should draw you in. Forget about the blues of the looming week 5 and become immersed in an (also) tragic yet delightful watch, full of both splendour and emotional depth- a true tribute to Fitzgerald’s virtuosic writing, 100 years on.

Edited by Polly Bigham