Big parties, bold visuals, and a musical heart that nearly catches Fitzgerald’s ghost

There is no shortage of ambition in The Great Gatsby, now lighting up the London Coliseum with silk, smoke, and a brass section that barely rests. This new musical arrives dressed for the occasion, high on glamour and hungry for applause. And in many ways, it delivers. This is a show that knows how to entertain. But behind the feathers and fanfare, the heart of the story starts to fade.

Produced by Chunsoo Shin for The Great Gatsby Musical UK Ltd, this West End transfer of the Broadway-originated show features direction by Marc Bruni, musical staging by Dominique Kelley, and design by Paul Tate dePoo III. The score is composed by Jason Howland with lyrics by Nathan Tysen, and the book is adapted by Kait Kerrigan. It is a creative team that knows how to build scale, and it shows in every corner of the stage.

The cast is led by Jamie Muscato as Gatsby, a role he plays with grace and restraint. Frances Mayli McCann brings a fractured elegance to Daisy. Corbin Bleu takes on Nick with a steady hand, and Amber Davies shines as Jordan, adding precision and ease. Supporting roles are filled by Jon Robyns as Tom Buchanan, Rachel Tucker as Myrtle Wilson, Joel Montague as George Wilson, and John Owen-Jones as Meyer Wolfsheim. The ensemble is tight, and the chemistry across the cast keeps the world believable, even when the story drifts.

From the start, it is clear this version wants to be seen. The design is grand and fluid, with panels sliding across the stage, projections melting into the background, and light catching every surface. The visual language is bold but never overwhelming. The parties are loud and intoxicating, while the quieter moments are handled with care. It all looks incredibly sharp.

The music moves between eras. At times, it nods to jazz. At others, it leans into contemporary theatre sound. Some numbers leave an impression. “Only Tea” is one of the rare songs where the pacing slows and something honest slips through. “For Her” offers another moment of emotional clarity. But the rest of the score often blends into the mood. It fills the space, but it does not always hold you there.

And that is part of the challenge. The emotional weight of Fitzgerald’s novel is trimmed back. Gatsby’s past is condensed into brief memories. His obsession is suggested, not fully explored. The darker side of wealth, the quiet cruelty of class, and the moral erosion beneath the glitter are mostly hinted at, not truly confronted. The result is a version that glows on the surface but rarely shakes you.

The structure of the show is neat, perhaps too much so. Scenes transition seamlessly. Every gesture feels intentional. But in all that clarity, some of the mystery disappears. The story plays out as it should, but not always as it could. You are constantly aware of how well everything is put together. What is harder to find is the rawness that made the book linger.

Last Friday, the crowd was fully tuned in. People came dressed for the theme. There was buzz during the opening, small gasps at the set changes, laughter in the right places. It felt like an event. But by the end, the applause was polite. Something had quieted. I heard a few people comment on how beautiful it looked, but also how little they had felt. The impression was strong. The emotion, less so.

That may be the best way to describe the experience. It is a well-crafted show. A generous one. It wants you to enjoy yourself, and you probably will. But for a story built on longing, illusion, and things left unsaid, this musical version often trades subtlety for sparkle.

Still, it is hard not to admire the ambition. It offers a full vision, one that is visually striking and technically confident. If you are new to the story, this might be an ideal entry point. If you know the novel well, you might find yourself waiting for it to cut deeper.

This Gatsby wants to sweep you off your feet. And it might. Just do not expect it to break your heart.

★ 4 / 5

Now playing at the London Coliseum until 7 September 2025.
Tickets available at https://londoncoliseum.org/whats-on/the-great-gatsby/