Gatz @ Her Majesty’s Theatre, Adelaide 15/3/2026

F. Scott Fitzgerald’s fabled 1925 novel The Great Gatsby is considered a definitive American literary masterpiece. Filled with lyrical prose and rich symbolism, it captures the spirit of the Jazz Age while providing a cynical critique of the American Dream.

The novel’s storyline is acclaimed. Nick Carraway narrates the tale of his interactions with Jay Gatsby, an enigmatic millionaire consumed by his desire to reunite with his former lover, Daisy Buchanan. But staging every single word of it is akin to theatrical absurdity. Yet Gatz successfully shifts the madness into an exceptional reality.

Created by New York theatre company Elevator Repair Service, Gatz is presented at Her Majesty’s Theatre as part of the Adelaide Festival. The play unfurls across four Acts and more than eight hours (including intervals). What could easily feel like an endurance test becomes a captivating theatrical marathon. One that progressively draws the audience into the poignant literary world of Fitzgerald’s tragic novel.

The production begins in an ordinary, drab, fluorescent-lit office. An employee sits at a desk, unable to start his computer. As he waits for it to reboot, he discovers a copy of The Great Gatsby. He begins reading the novel aloud when something unassumingly magical begins to occur. The dull office space slowly transforms into the landscape of the novel. Colleagues metamorphose into characters. Chairs, desks and rooms become locations. And Jay Gatsby’s story unfolds before our very eyes.

At the centre of this outstanding transformation is Scott Shepherd, who assumes the role of narrator Nick Carraway. Shepherd has performed with Elevator Repair Service since the late 20th century. His involvement with Gatz dates back to 2003, signifying his extensive experience with the play. Shepherd’s performance is nothing short of extraordinary. Across four Acts, he carries the narrative voice with earnestness and levity. His delivery is natural and highly engaging. Despite reading from the novel for much of the time, it never feels like he is simply reciting the words. His delivery draws the audience in.

When he closes the book in Act four but continues sharing the story from memory, the dynamic shifts. The intimacy and emotion increase, as though the story lives within him rather than on the page.

The ensemble merits equal kudos. Each actor adopts the heightened reality of Fitzgerald’s characters with ease and believability. Jim Fletcher interprets Gatsby’s character with familiar charm and humour sprinkled in to break his melancholy. Lucy Taylor and Gary Wilmes paint Daisy and Tom Buchanan as a well-to-do yet complicated couple. Susie Sokol’s depiction of Jordan Baker is a balance between whimsy and thoughtfulness. Beginning in a somewhat comedic relief role, she progresses to a more reflective role as the tragedy of the plot unfolds. Generally, the cast moves effortlessly between humour, tension, and heartbreak across the eight hours, which is a testament to their talent and stamina.

Under the direction of John Collins, the story uncomplicatedly progresses. The storytelling evolves, and scenes change organically as Shepherd’s narration and the actors’ movements with furniture unfold. The office set remains intact throughout, yet by moving chairs or sofas and a heady dose of the audience’s imagination, mansions, ballrooms, hotel rooms and a dire roadside encounter are conjured.

The technical design also plays a critical role in maintaining this illusion. Mark Barton’s lighting design is outstanding in its restraint. For much of the performance, it fluctuates between severe fluorescent light and softer, dim natural tones. Yet the subtle transitions are profoundly striking insofar as they help to progress the plot on its emotional journey.

The sound design by Ben Williams is similarly effective. Gavin Price (Michaelis), seated at stage right for the duration of the production, is tasked with bringing Williams’s design to life. Soundscapes and audio details accentuate the action, allowing scenes to form fully. These auditory embellishments cause the production to feel grander than the ordinary staging.

The tour de force of Gatz is perhaps the sentiment of shared experience it creates. Spending an entire day with a theatre full of people watching a tragedy unfold fosters a high degree of intimacy and intensity. By the final Act, all involved – actors, crew and the audience – feel like travellers who have shared a protracted, impassioned odyssey.

When the play reaches its reticent conclusion, the response is immediate. The audience rises in a richly deserved standing ovation. After over eight hours, there was a sense that everyone had experienced something unparalleled.

Gatz is more than an adaptation of The Great Gatsby. It is an astute theatrical encounter that highlights the indelible weight of Fitzgerald’s words and the immeasurable possibilities of live performance.
Yes, it is long. But it is also unforgettable.

Adelaide Festival Review By Anita Kertes