Set to the sweeping musical landscape of the great George Gershwin and other famed composers and song-writers of the Roaring 20s, Jill Eathorne Bahr's imbues the opulence of the Jazz Era — the proverbialRoaring Twenties — it is what makes this story such a decadent delight on stage. It's also the bitter aftertaste thatfollows the tale of a man who tried to attain what so many before and after have reached for.We like to tell our children that they can become anything they dream of becoming, but eventually childhood givesway to adulthood and the truth about how malleable our places in the world really are begins to seep in.
We canimprove ourselves vastly, yes, but sometimes, the simple truth is that you really can't get there from here.Ah, but we can throw one hell of a party along the way.Jay Gatsby did, and the elite of Long Island reveled with him inthe beloved novel by F. Scott Fitzgerald. It's the stuff of theAmerican Dream and Greek tragedy all tangled up together:Gatsby's fascination with Daisy Buchanan compels him to do extraordinarily well for himself, and this same fascination ultimatelyleads to his downfall.
The party scenes are naturally inclusive of dance, but interpretingthe quieter moments of the novel in physical movementpresents a more compelling challenge. Yet Gatsby's early senseof yearning — the eagerness to appear to the manor born — is all there, somehow, in the dance.
WORLD PREMIERE 2004