Written by F. Scott Fitzgerald

Adapted by Elizabeth Newman

Directed by Sarah Brigham

Review by Dominic Corr

Pitlochry Festival Theatre

Obsession and illusion are reframed in a swirl of jazz, longing, and champagne-soaked dreams, as The Great Gatsby returned to the stage in a new adaptation by the Pitlochry Festival Theatre’s most recent Artistic Director, Elizabeth Newman. A co-production by the venue and Derby Theatre, Scott Fitzgerald’s tale (the staple of most Scottish Higher English students) is captured through the eyes of Nick Carraway, played with quiet intensity by David Rankine. As Nick attempts to commit his memories to paper and capture the ‘good ending’ of a life, audiences are drawn into the glittering world of West Egg, where enigmatic Jay Gatsby (Oraine Johnson) throws lavish parties in pursuit of his lost love, Daisy Buchanan, performed by Fiona Wood with a sincerity and iron core.

With direction from Sarah Brigham, E. Newman’s adaptation leans into theatricality with a bold visual language and a live band perched above the action, continuing the venue’s repertoire and actor-musicians, all watching/judging the drama unfold like celestial narrators of the Jazz Age. But it’s Rankine who anchors the show with a performance that grows in depth as the story progresses, culminating in a closing monologue that is nothing short of sublime. It’s a moment where adaptation, direction, and performance align, offering a glimpse of the tragedy’s full weight. Wood brings a brittle elegance to Daisy, capturing both her charm and her evasiveness, while Louis Newman impresses in dual roles as Wilson and Mr McKee, offering a grounded counterpoint to the more flamboyant ensemble.

And flamboyant they are. While the actor-musician format adds texture and energy, particularly through Shonagh Murray’s musical direction, some ensemble members lean too heavily into caricature. The comedy occasionally undercuts the emotional resonance, with certain scenes feeling more like cabaret sketches than dramatic beats. Visually, however, the production is striking as Jen McGinley’s set design features two sweeping staircases that frame the central action, evoking both grandeur and entrapment (utilised exceedingly well by April Nerissa Hudson as Jordan). The band, elevated above the stage, becomes a chorus of sorts, underscoring scenes with Cole Porter-infused melancholy and ghostly glamour. Emma Jones’ lighting design is stellar, using silhouette and shadow to evoke memory, desire, and the passage of time. At its best, the production feels like a dream half-remembered, beautiful, elusive, and tinged with remorse.

Movement direction by Sasha Harrington adds a layer of storytelling that compensates for some of the script’s structural looseness. Choreographed transitions and stylised gestures help bridge scenes and maintain rhythm, even when the narrative pacing falters. The use of space is clever, with characters weaving between staircases and curtains, suggesting the fluidity of memory and the instability of identity. Yet for all its ambition, the production doesn’t always land its emotional punches. Gatsby’s mystique is present, but the chemistry between him and Daisy never quite ignites. There’s a sense that the production is reaching for something profound, but occasionally gets lost in its own aesthetic.

In their closing season, Elizabeth Newman leaves behind some tremendous achievements and a rejuvenation of the Scottish theatre’s landscape. Here, there is much to admire, and though Gatsby may not hit the mark, its clashed style of caricature and dramatic performances are an unconquerable gripe, but the show’s aesthetics and core represent E. Newman’s tenure at the theatre: classy, fresh, and with music in its soul.

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