The Great Gatsby musical at The London Coliseum review

While Paul Tate Depoo III’s Gorgeous Art Deco Set, Linda Choo’s Sequinned Costumes, and Dominique Kelley’s Snappy Choreography provides Bone Fide Jazz Age Spectacle, The Show Perhaps Inevituly Sacrifices The Intleties of Fits to Fits to Fits To Fits To Fits To Fits To Fits To Fits To Fits To Fits To Fits To Fits to Fits to Fits To Fntleties of Fits to Fntleties of Fits To Fntleties of Fits To Fntleties of Fits To Fntleties of Fits To Fntleties of Fntleties of Fits to Fntleties of Fntleties of Fited To Fntleties of Fntleties of Fited Fited Fited Subtleties of Fited Subtleties of Fited Subtleties of Fited Fitedties of Fited Fitedties of Fitedties of Fited Subtleties of Fited Subtleties of Fited. Musical.

Here the relationship between the obsessive, but without humor Gatsby and Frances Mayli McCann, the privileged and fragile Daisy is played as a direct love story, hindered by class and gender restrictions instead of Hallow.

Jamie Muscato as Gatsby and Frances Mayli McCann as Daisy in the Great Gatsby. (Image: Johan Persson) That and the team of much of Back’s story of Gatsby fails the tragedy and steals one of the novel’s self -in -aninvention issues.

But Marc Bruni’s capable direction offers a ruthless opportunism representation in a booming America in a consumerist power.

Back projections evoke New York as a construction site where ancient and new money breaks, and an excellent choir plays the hedonistic crowd that sponges the hospitality of Gatsby.

Corbin Bleu as Nick Carraway with the cast of the Great Gatsby. (Image: Johan Persson) Muscato is in a good voice in ballads of power For her and My green light But if he loses Gatsby’s charm, silly Nick Carraway from Corbin Bleu has it on swords.

He is Daisy’s cousin and our guide with his feet on the ground for this amoral world of careless wealth.

His wise link with the Sardonic and Spirited Jordan by Amber Davies is a welcome to the Gatsby/Daisy relationship: although his subsequent separation is glossed in a second half that runs through the plot with pause for the character.

But the program has a Bludgeonyoning Forward Momentum son and elegant moments such as when Mayli McCann nails the bitterweet Beautiful fool.

Jon Robyns makes a decent turn like the brutal villain of the piece Tom Buchanan.

And while John Owen-Jones is underutilized as the smuggler and illegal source of Gatsby’s fortune, he gives his first act of act in the elegant act Shading.

The pop numbers of Jason Howland and Nathan Tysen have a passing relationship with jazz and are powerful sung, if not memorable.

The Gatat Gatsby extends at the London Coliseum in London until September 7.