By Gianzack Chariell ’27
NEW YORK, NY – Everybody has a dream. The way people choose to pursue these dreams, however, often differs. Through obsession and excessive hard work, or through balance and determination, we see people around the world reaching for what they want, sometimes even when it seems impossible. F. Scott Fitzgerald recognized obsession in his classic novel The Great Gatsby. After a war separates Jay Gatsby from his dream, Daisy Fay, we see Gatsby pursue the impossible fantasy of being with her. Through extravagant, luxurious, and excessive parties; building a mansion for her and near her; and even ruining lives, relationships, and reputations, society reflects on Gatsby’s obsession and his relentless pursuit of Daisy. Nearly a full century after its publication, The Great Gatsby made its debut on a Broadway stage in April 2024 as a musical starring Jeremy Jordan and Eva Noblezada. Not long after its debut, I had the privilege to see one of my favorite novels come to life on stage, experiencing the brand new musical’s original cast and early days of production. Instantly, the contemporary musical solidified itself as one of my favorite musicals and shows in general. With its jazzy and diverse rythmes, powerful lyrics, and heartbreaking fifth octave notes, the soundtrack helps the audience envision the privilege of the rich upper class, the longing behind having one’s dreams crushed, and the cynical and brutal realities behind characters in the midst of emotional turmoil.
Furthermore, Don Bosco Prep’s Honors Thespian Society (Troupe #8129) was able to raise funds through a fundraiser back in March. With this came the gift of going to see a Broadway musical. When I found out that the troupe was going to see The Great Gatsby, I was ecstatic and eager to re-review one of my favorite musicals. The trip was scheduled for a Thursday matinee – we would take a bus into the city and not only see the show, but work with a Broadway actress, Linedy Genao, in a workshop at a professional rehearsal center for shows across the city. The troupe decided to do an “acting through song” workshop, in which six volunteers would sing a musical theater song of their choosing for the group. All performers were fortunate to receive critiques and notes from Linedy Genao, generally improving as the workshop went on. James Coleman ‘25, Alex Galupo ‘25, Zachary Emerson ‘27, Zavier Aviles ‘27, Noah Horvath 28’, and Gianzack Chariell ‘27 (myself), all chose a song and prepared for the May 1st workshop. Linedy Genao, who was playing the supporting role of Myrtle Wilson, was a pleasure to work with, as her passion and energy flooded the room, giving the six performers confidence and excitement. After arriving in the city, the troupe headed straight to the rehearsal center; meeting our piano accompanist, Andre Cantini, and, of course, Linedy Genao. Shortly after, James Coleman stood up and gave his sheet music to Andre, as he began preparing himself to sing “Run Freedom Run” from the musical Urinetown. James, who played the lead role of Quasimodo in DBP’s Spring production of The Hunchback of Notre Dame back in March, wasted no time as he belted the infamous riffs and absurdly high notes, all at ten o’clock in the morning. After James’ performance, it was evident that his singing needed little to no assistance; however, Linedy Genao did have a piece of advice for the DBP Senior. She noted that the song was a song of passion and freedom. For context, the song is about a corrupt dystopian government and how the people need to overcome the cruelty and injustice, as character Bobby Strong encourages his fellow citizens to rebel against a tax that is imposed on those who need to use public restrooms (which is just about everyone, due to a water shortage). Moreover, Linedy Genao suggested to James to put some passion into the character, perhaps some slight dancing or even a couple of movements to express excitement and a fighting spirit. With this, James took it from the top again, and he killed it with energy, passion, and emotion. Furthermore, the other performers all went up to sing over the next hour, singing brilliant and difficult songs, such as “Bat Out of Hell” (sung by Zachary Emerson), “Hellfire” (sung by Noah Horvath), and “Grow For Me” (sung by me). All in all, the experience was a once-in-a-lifetime experience, and the performers were grateful to have been able to receive compliments and assistance from a Broadway actress. After the workshop, the troupe embarked on a walk through Times Square until they arrived at Bryant Park, where students enjoyed a picnic with their packed meals and a gelato from Bryant Park’s Casa Toscana gelato stand. Following lunch, the ITS troupe gathered together and began walking to the Broadway Theatre, and after a wait in line, we were seated and the show began.
When you walk into The Great Gatsby on Broadway, the first thing you’ll see is the iconic lake and green light referenced in the book. As the show starts, the first thing you’ll hear is the riff of an oboe, behind it being a series of piano chords. This is not only the introduction to the show, but the beginning of one of the best songs. “Roaring On” sung by the ensemble and Nick Carraway (played by Michael Maliakel) is a roller coaster of emotions. The lyrics range from post-war restlessness, leaving home, partying while in the midst of prohibition, and prefacing the undeniable series of events that are bound to change Nick forever. With this, the audience has caught glimpses of what is to come through clever innuendo: a cottage next to a mansion, an invitation to a party from Gatsby himself, and a mysterious silhouette reaching out towards the sky. In the next scene, the audience is introduced to three more lead characters, including Nick’s cousin, Daisy Buchanan (played by understudy Kayla Pecchioni), Tom Buchanan (played by Austin Colby), and the fan-favorite Jordan Baker (played by Samantha Pauly). In this scene, the audience meets the Buchanan family: the lively Daisy, her cruel and malevolent husband Tom, and their child, who makes a brief appearance but is neglected throughout the majority of the plot. Furthermore, the character of Jordan is introduced in this scene, as Daisy attempts to set Nick and Jordan up. Eventually, this seems to take a step in the right direction, as the two decide to take a trip to the illustrious and acclaimed mansion of Jay Gatsby. With this, the fan favorite song begins. “New Money” starts out with some simple, yet catchy lyrics from Jordan’s character, addressing how West Egg and East Egg differ in terms of new money and old money. The new money party is by far the most visually appealing part of the show. Golden and vibrant costumes, exploding fireworks, and illusions that create a look of a true multi-million dollar mansion all embellish the stage, leaving the audience in awe. As the stage transforms, the song truly comes to life, as the brilliantly in-sync choreography and syncopated rhythms make Gatsby’s party truly roar with spirit. Many of the lyrics are humorous in the scene, as the characters discuss the whereabouts of Jay Gatsby: some heard he was a spy, some heard he was a murderer. However, the question of why he doesn’t attend his own parties is left unanswered and ambiguous. A character introduced in this scene is Meyer Wolfsheim (played by Eric Anderson), whose character is established as a new money gambler, who seems shady, ominous, and somewhat corrupt all in one. This scene is considered to be one of the best of the show, and from the technical side of things this was certainly not an easy song to get through. Though many were heartbroken that this scene had to end, the audience was likely comforted by the famous words Fitzgerald dedicated to his infamous character years ago: “Old sport!” For clarification, after the infamous party scene, Nick wanders off to a room of Gatsby’s mansions where he meets the surreal and mythical Jay Gatsby (played by understudy Alex Prakken). In this scene, it is revealed that Gatsby invited Nick to his party for a reason: to pursue Daisy’s heart. As Daisy’s cousin, Nick would be able to get Gatsby and Daisy in contact, for the first time in many years. In my personal favorite song of the show, “For Her,” Gatsby reveals how he has done everything for Daisy, and for Daisy alone. He went to war for her, built his mansion for her, and threw all the parties for her in hopes that she would walk into his mansion and therefore into his arms, after all the years of reaching for her. The song is a slow ballad, testing the range of Gatsby’s actor as notes reach the top of the fourth octave. Furthermore, after the song of hope comes to a conclusion and Alex Prakken is able to take a sigh of relief, Nick says he will think about what Gatsby wants him to do. In contrast to Gatsby and his unconditional and relentless love, Tom Buchanan is revealed to be having an affair in the scene that follows. As Tom takes Nick into the city for a trip to the Met, they take a quick stop for gas at George Wilson’s (played by Charlie Pollock). After “Valley of Ashes” introduces the audience to the iconic “eyes of God,” we DBP students were reintroduced to our good friend Linedy Genao, as Myrtle Wilson’s strong and hyperbolized New York accent echoed throughout the theater. Tom offers to take Myrtle into the city after he hears they are headed in the same direction, and George reluctantly agrees to let Myrtle do so. When Nick mentions the Met once more, it is revealed that the Met was a ploy, and the group is headed to the house of Myrtle’s sister, to essentially drink and party. At this scene, Nick sings his song “The Met,” where he expresses how the Met would have been much better than having to endure the awkward sexual acts in the background of the party, and the weird community of people trying to hit on him. When Myrtle makes a comment about Daisy, Tom impulsively smacks her, breaking her nose. After this disaster of an evening, Nick realizes that Daisy would be better off with Gatsby, as he calls the number he was given to set up a tea party at his cottage. Though Gatsby is anxious and a nervous wreck, Daisy arrives, and they meet for the first time in years. They seem to click immediately. Daisy is then introduced to Gatsby’s mansion where he reveals how all he does is for her. The couple then sing one of the most acclaimed songs of the show, “My Green Light,” as they share a kiss and all seems like it will work out. This is the final scene of Act 1, and it leaves quite the impression on Bosco’s ITS troupe, encouraging James Coleman and myself to spend some money on merchandise during intermission.
When we return, Meyer Wolfsheim is reintroduced, as he sings what might be the most intimidating song in the show. “Shady” was completely uncalled for, and by far the most surprising number in The Great Gatsby. To begin, the 52 year-old Eric Anderson was able to dance like a man in his twenties, keeping up with the choreography in the scene while looking perfectly shady and ominous throughout it all. However, the part that truly made jaw drops was his unique baritone voice. Anderson’s vocal nuances – including growls, raspiness, and many shifts in dynamics – emphasize multiple dimensions of Meyer Wolfsheim, making him both confident and unsettling. Once the final note of “Shady” comes to a conclusion, and the smoke and silhouettes flee the stage, the story progresses as a party at Gatsby’s is set to be attended by Jordan, Nick, Daisy, and most notably Tom Buchanan. As the party prepares and the characters reflect on their respective happiness, Gatsby sings the famous song “Past is Catching Up to Me.” The title of the song resonates deeply with Gatsby, as the theme of the impossibility to return to the past is emphasized. The powerful music and lyrics emphasize inevitability, though they hint at Gatsby’s denial and imminent downfall. As the party begins, we see conflict between characters, as Tom finds jealousy after Daisy and Gatsby seem to be inseparable. Though he tries to break them apart, he seems to fail. Though Daisy and Gatsby plan to escape through the song “Go,” it isn’t that simple as they are roped into a plan to go to the Plaza Hotel with Tom, Nick, and Jordan. Eventually it is decided that Tom will take Nick and Jordan in Gatsby’s yellow Rolls-Royce, and Gatsby will drive Daisy and himself in Tom’s car. On the way to the Plaza Hotel, Tom stops at George Wilson’s gas station, as he is welcomed by an arguing couple and of course, the eyes of God. In this scene, it is revealed to the audience that Myrtle is pregnant with Tom’s child, and George demands to know who her lover is as he yells at her and threatens her. Once Tom has enough gas, (keep in mind this is the Rolls Royce), they get on their way as Myrtle escapes George and runs away in hopes of being reunited with Tom. When our five lead characters arrive, Gatsby reaches his breaking point, telling Tom that Daisy has never loved him and has been devoted to himself for years. After an intense argument with much alcohol, Daisy confesses that it would be a lie to say she never loved Tom. Gatsby, through his obsession, seems aggravated yet still hopeful. At this point, Gatsby and Daisy decide to drive back into West Egg in Gatsby’s yellow Rolls-Royce. The stage then transforms to the side of the highway, where mist engulfs the stage and creates an ominous atmosphere. Myrtle Wilson then runs out and sings “One Way Road,” as she contemplates the decision of either being with Tom and their child, or George and the child. Once the song comes to a conclusion, the Rolls Royce strikes her, killing her instantly. Through clever lighting and an out-of-nowhere appearance from the car, this scene was crafted excellently making it seem as though Myrtle was truly struck by a speeding car. When Tom, Nick, and Jordan drive by the gas station and see policemen and medics, they frantically ask what has happened. This is where Tom realizes he has lost not only Daisy and Myrtle, but his unborn child too. George, recognizing the Rolls Royce from a story told by a witness, is suspicious of Tom. But, the greedy and corrupt Tom tells George that this was all done by a rich, famous man by the name of Jay Gatsby. Nick and Jordan, though both are disturbed by what they saw, see the situation differently. Jordan, unlike Nick, is somewhat careless as she only cares about her emotional stability, suggesting they don’t dwell on it and enjoy the night. This shows her cynical and somewhat unempathetic and privileged view that contrasts Nick’s morals. She lacks the feeling of responsibility, as Nick cares about making things right. Nick then decides that he and Jordan view the world differently, and that they could never be together despite their love for one another. This contrasts Gatsby’s disillusionment with inevitability, and it is beautifully portrayed in the novel, as Jordan and Tom get in the car and drive off without Nick. The scene then cuts to Gatsby, at his pool, where the audience learns that Daisy was driving the car while being drunk and emotionally conflicted. Gatsby insists on taking the blame, as he awaits a phone call from her. This, of course, puts him at risk. But to him, it is worth it. He believes that Daisy will call him, and that Daisy and he will run away together. This is perfectly evident in “For Her: Reprise,” as he belts her name and insists on being with her, even despite what tragedies just occured. By the end of the song, we hear another voice: “God sees everything. Forgive me for being His hands.” Instead of a phone ring, the only sounds to be heard in the scene are three gunshots fired by George Wilson – two at Gatsby, killing him and knocking him into the pool (which was the pit) and one at himself, as he commits suicide. “New Money: Reprise” and “Finale: Roaring On” are two of the most heartbreaking songs of the show, as characters joke about Gatsby’s death and neglect his legacy. Furthermore, they neglect his funeral, as we see Nick and only Nick sitting beside his coffin, head in his hands. This emphasizes the lack of gratitude and cynical personality of the wealthy, and how privilege consumes them. Though it hurts to see these former party members, it is more painful to see Daisy pack to flee Long Island alongside Tom, rejecting Gatsby wholeheartedly, despite his sacrifice for her. “Beautiful Little Fool” expresses the cynicism behind Daisy, and how she sees her own gender as inferior and subordinate. This final song, though somber and heartbreaking, is a pathetic expression of guilt that provides no comfort nor closure, ultimately concluding The Great Gatsby, and making the audience ponder the themes illustrated a century ago in the grand form of a Broadway musical.
All in all, The Great Gatsby changed my life as a reader, and has continued to change my life as a theatrical student. Beyond just developing a new dream role of mine, Gasby’s lyrics and powerful notes fill me with awe and heartbreak, leaving me listening to the soundtrack on repeat a week and a half after seeing the show. Though it has subtle contradictions to the novel, I would say the musical stayed relatively true to the novel, expressing characters accurately and emphasizing innuendos implemented by Fitzgerald in his writing. Nevertheless, my biggest takeaway from Gatsby in general includes the illusion of wealth as a passage to happiness, and the obsession and disillusionment caused when one rejects the truth and inevitability of their situation. Gatsby has always broken my heart, and I encourage those who love a good heartbreak to see one of my favorite musicals when they have a chance. Overall, Gatsby will never fail to make society wonder the impossible question: “Why do we keep reaching?”