Gatz

Gatz is now in performances at the Public Theater through December 1.

By Elazar Abrahams

On West 53rd Street, Jay Gatsby belts out ballads six days a week in a musical version of F. Scott Fitzgerald’s legendary work that opened in April. Then over the summer, Bostonians were treated to a rival adaptation of the text from the mind of singer-songwriter Florence Welch that has its eyes set on transferring to a New York stage. So it’s only fitting that the theater troupe Elevator Repair Service has chosen now to revive their ambitious ‘Gatz,’ not so much an “adaptation” of The Great Gatsby in the classic sense, but rather a performance of the complete and unadulterated 208 page novel.

Gatz is certainly a commitment and not for the skeptical. The show is an astonishing eight hours in length, although this includes two fifteen minute intermissions and a 90 minute pause for dinner. The concept of watching the entire novel performed verbatim is intriguing, but, apropos for a play that finished previews soon after the NYC Marathon, becomes an endurance test for not only the talented actors on stage, but for the audience as well.

The piece, last performed at the Public in 2011, is built on a fascinating juxtaposition. An office worker picks up a copy of The Great Gatsby and begins to read aloud, with the mundanity of office life slowly giving way to the glitz, glamor, and disillusionment of Jay Gatsby’s world. Yet, despite the clever premise that might have something to say about the “American dream,” the production rarely transcends this basic setup, leaving most of the hours feeling stagnant and unengaging. While the story itself is, of course, brilliant — there’s a reason the book is considered a masterpiece — the play struggles to breathe new life into it, often feeling like an audiobook with a few props.

For those willing to sit through this, there are some bright spots. Scenes where the full ensemble is engaged, like Tom and Myrtle’s chaotic rendezvous uptown or Jay and Daisy’s reunion, inject bursts of energy into an otherwise dull affair. In these moments, the physicality and commitment of the cast shine through, elevating the narrative beyond mere recitation. Unfortunately, these highlights are few and far between, and much of the experience lacks the visual or emotional dynamism one might hope for.

The cast, especially Scott Shepard as the narrator, deserves credit for their stamina and commitment. But as a theatrical experience, Gatz will leave audiences waiting for a moment of creative revelation that never fully materializes. Still curious to brave the full eight hours? Godspeed.

Find more information and tickets HERE.