First World Problems? QTC’s The Great Gatsby.
The 2026 QPAC Season opens with The Great Gatsby – why? Last year the ‘great’ American novel celebrated its 100th birthday. Some may think of dapper Robert Redford, others may recall Baz Luhrmann’s Leonard DiCaprio toasting us with a generously sized champagne glass. To date the novel has yielded film, television, ballet, musical, theatrical adaptations (1926, 1949, 1974, 2000, 2013).
The Great Gatsby is about parties, Jazz, liberation, love, disillusion, rich fakers and scammers. Ultimately, it’s about failure. Wow, not much has changed in 100 years.
So how did Queensland Theatre Company (Daniel Evans) and Shake & Stir Theatre Co (Nelle Lee) lift the 1920s glamour/party veil to deliver the novel’s somber philosophies? This production opens with loads of energy, sound, colour and joie de vivre. It’s almost frenetic. There’s music, dancing, flashy clothes, and loud introspection. If you, dear reader, think this sounds this a little too much, then stick around because the second half is calmer. While not exactly a play of two halves, the production melds the opposing tensions of the novel—mainly through retaining the stinging one-liners –
“So we beat on, boats against the current, borne back ceaselessly into the past”
“I hope she’ll be a fool – that’s the best thing a girl can be … a beautiful little fool”
“Can’t repeat the past … of course you can”
“They were careless people … they smashed up things and creatures and then retreated back into their money … let other people clean up the mess they had made”
And visual symbolism.
First, applause to Christina Smith and Trent Suidgeest for the remarkable set and lighting designs. The green light, valley of ashes and Dr T J Eckleburg’s eyes are more than visual eye candy – they reinforce failure, moral decay, omniscient watching god. Costuming walks the tightrope between historical accuracy and furthering characterisation. Particularly memorable are Gatsby’s pink, rose jack and Jordan Baker’s tennis-like shorts set.
Now to the most contentious aspect of all Gatsby adaptations: characterisation. Despite the eponymous title, Jay Gatsby is arguably not the main character – Nick Carraway is. Ryan Hodson is good as Care-away (get it?)– he is our guide, sometimes participant and always moral compass. Is Nick really a friend to Jay? Shiv Palekar has the thankless role of the impenetrable Jay Gatsby – he manages well. Is Jay lovelorn or a stalker? Jeremiah Wray is the insufferable Tom Buchanan – he’s big, loud, and brash. Does he really ‘love’ Daisy? Scott Fitzgerald’s women are ‘challenging’. Jess Vickers handles the diffidence of Daisy Buchanan. She isn’t as vapid as she appears but does she love Jay or Tom? Shoutout to Libby Munro who captures Jordan Baker’s ennui – but does she ever care about Nick? Donne Ngabo shines as Wolfsheim. Nelle Lee’s Myrtle Wilson is ebullient maybe a little too much so? Is her hypersexuality a marker of class or desperation? Ethan Lwin balances George Wilson’s enthusiasm and blindness. But is he ‘simple’ because of his class or smarter than everyone?
QTC’s adaptation captures the dissonance of the book. It may not leave audiences with a musical ear worm but hopefully it makes them think. It made me wonder – why don’t I like The Great Gatsby? Prompted by the play, I re-read the book and re-watched the movies. I have come to accept it’s just not in my cultural DNA. I don’t get the American Dream so how can I engage with the characters in a meaningful way. The Great Gatsby is not a shallow story — it’s deeply philosophical. It’s not a romance, far from it. But usually the 1920s glitz blurs Scott Fitzgerald’s meaning; no wonder he thought the critics didn’t understand the book. So hie thee to QPAC before the run ends.
If you think The Great Gatsby isn’t you – rethink because it’s just a relevant as it was 100 years ago. For those who prefer an British anti-romance play then QPAC’s Pride and Prejudice (10-26 July 2026) just might be your cuppa.
The Great Gatsby
QPAC Playhouse
12 Feb – 8 Mar 2026
