Currently playing at Melbourne’s Her Majesty’s Theatre, The Great Gatsby: A Jazz Ballet Odyssey lands somewhere between an eager reinvention and frustrating near-miss – a production rich with ambition, but uneven in its execution.
Directed and choreographed by Joel Burke, this reimagining of F. Scott Fitzgerald’s novel sets out to strip away irony and present Gatsby as a man defined by belief. It’s a compelling idea, and at its best, the show captures that intensity through a blend of ballet, tap, and jazz. The movement language can be striking, particularly in moments where the choreography leans into emotional exposition rather than spectacle.
The principal cast largely rises to the challenge. Ervin Zagidullin brings a sincere, almost fragile quality to Gatsby, while Abbey Hansen offers a poised and enigmatic Daisy. Ethan Mrmacovski provides a steady presence as Nick Carraway, grounding the narrative where possible. There’s also strong individual work from Giselle Osborne (as Jordan Baker) and Mia Zanardo (as Myrtle Wilson), though the production’s overall impact is diluted by ensemble sections that often feel under-rehearsed or lack cohesion.
Where the show begins to falter is in its technical and musical execution. While some of the score incorporates original music from Jason Fernandez and Dominic Cabusi, much of the music leans heavily on recognisable material – including Rhapsody in Blue, The Blue Danube, and even a reworked Can-Can – resulting in a somewhat disjointed musical identity. Combined with inconsistent sound balance that frequently overwhelms the vocal narration, the storytelling can feel muddied rather than driven.
Visually, the production offers glimpses of sophistication without fully realising them. The Art Deco framing and digital backdrops provide a strong foundation. Key moments – particularly the climactic car crash in act two – pass with surprisingly little impact.
Lighting (Steven May and Ben Hambling) shows flashes of creativity in its colour palette, but too often scenes feel under lit with principal performers occasionally left without the clarity they deserve. Use of follow-spots could have significantly enhanced the visual storytelling.
There are undeniably thrilling moments – especially in the larger party sequences – and the production’s relentless pacing does generate a sense of momentum. Yet that same drive can feel rushed, leaving emotional beats underdeveloped and key transitions lacking clarity.
Ultimately, The Great Gatsby: A Jazz Ballet Odyssey is a production with strong ideas and committed performances, but one that doesn’t fully cohere. It gestures toward greatness without quite achieving it, an adaptation that captures the scale of Gatsby’s dream, but not always its precision or depth.
The Great Gatsby: A Jazz Ballet Odyssey
Her Majesty’s Theatre, 219 Exhibition Street, Melbourne
Performance: Wednesday 18 March 2026
Season continues to 5 April 2026
Bookings: www.ticketek.com.au
Following the Melbourne season, The Great Gatsby: A Jazz Ballet Odyssey will play Canberra Theatre Centre (8 – 12 April), Cairns Performing Arts Centre (16 – 19 April), Crown Theatre Perth (25 – 26 July), Newcastle Civic Theatre (22 – 23 August) and Her Majesty’s Theatre, Adelaide (2 – 6 September). For more information, visit: www.bigliveco.com for details.
Images: The Great Gatsby: A Jazz Ballet Odyssey – photos by Sam Tabone
Review: Rohan Shearn