Review: The Great Gatsby
The Great Gatsby is a high-energy show that deserves to sell-out: fantastic direction of a great cast, in a beautifully staged and thought-provoking adaptation. The novel and this production don’t shy away from serious themes of racism, sexism, and the class divide. However, this is a tale that is light on the sackcloth and heavy on sequins, with fabulous parties, glorious costumes, and wonderful music. Expect a fun evening out that might just encourage you to return to that old copy of the book.
Queensland Theatre Company (QTC) has opened its 2026 season in style, with a Jazz Age partnership that celebrates the 20th anniversary of the talented Shake & Stir. The Great Gatsby is an impressive adaptation of F. Scott Fitzgerald’s iconic novel—co-adapted & co-directed by QTC Artistic Director, Daniel Evans, in close association with Shake & Stir’s three Artistic Directors, Nelle Lee (co-adaptor and cast member), Nick Skubij (co-Director), and Ross Balbuziente (Creative Producer).
If you haven’t read the book, or seen the films, you may just want to have a quick glance at some of the plot outlines before you see this show. Or go along for the ride, and then decide if you want to read more. In summary, the story is narrated by Nick Carraway (Ryan Hodson), who retells his experiences of 1922 New York in a tale that features memories of the relationships between his then-neighbours, and the excesses of the wealthy and wannabes. At its heart, The Great Gatsby is a tale of love, lust, longing, hope, and loss—where Jay Gatsby (Shiv Palekar) throws fabulous parties to attract the attention of his former girlfriend, Daisy Buchanan (Jess Vickers), while Daisy’s husband, Tom (Jeremiah Wray) pursues various ‘indiscretions,’ including with garage-owner George Wilson’s (Ethan Lwin) wife, Myrtle Wilson (Nelle Lee).
There are so many highlights in this excellent production. My personal favourites in this strong cast were performances by Libby Munro (Jordan Baker), Donné Ngabo, (Meyer ‘Wolfy’ Wolfsheim), Nelle Lee (Myrtle Wilson), Loren Hunter (Catherine/Mint Julep), and Ryan Hodson (Nick Carraway). Hodson establishes Carraway as an outsider and observer who is understandably captivated by Jordan Baker, thanks to Munro’s outstanding portrayal of this thoroughly modern woman. Lee’s Myrtle is fabulous, particularly in the apartment scene, as an aspirational and lascivious mistress. Ngabo demonstrates great acting skill, particularly in creating ‘Wolfy’ Wolfsheim as everything the bootlegger should be, and more—being stylish, elusive, and devious. And Hunter’s glorious vocals are a literal highpoint of the nightclub moments—so much so that I would like to have heard more throughout the show.
Christina Smith’s set and costume design make a vital contribution to the success of this production (Smith is supported by Nat Ryner, Associate Costume Designer). Throughout most of the show, spaces of privilege and wealth are presented as a series of rooms—most notably in the pink-toned room filled with flowers for Gatsby and Daisy’s assignations. The contrasts with Myrtle’s peach pastiche boudoir, and with the dark and dirty spaces occupied by the working class, encourage us to reflect on the reality of the ‘American dream.’ The set and lighting design (Trent Suidgeest, Lighting Designer) also ensure that the co-directors create a sense of having a far bigger cast than the 12 people who take a bow at the end of the show. Aside from the narrator, the 11 other members of the cast are each credited for additional ensemble roles—with some very quick changes that ensure that the stage is often filled with the party crowd, remembered soldiers, and train passengers.
Picture: Pale pink tones of floral wealth and privilege in The Great Gatsby (Image credit Joel Devereux—NOT a Creative Futures Photography image).
Picture: The aspirational ‘peach’ apartment in The Great Gatsby (Image credit Joel Devereux—NOT a Creative Futures Photography image).
I came away from The Great Gastby musing on the different roles of the women in this play. Daisy’s comment on the birth of her daughter (”I’m glad it’s a girl. And I hope she’ll be a fool – that’s the best thing a girl can be in this world, a beautiful little fool”) contrasts with the strong women portrayed in this production—in particular the fabulous Jordan Baker and determined Myrtle. It is so good to see a show that encourages us all to move away from the ‘mindless’ (to repurpose another of Daisy’s lines) and to think about some of the deeper issues of our society—while also ensuring audiences have a great time, and get to enjoy the work of skilled creatives and of the QTC cast.
The Great Gastby has well and truly cracked the bottle of champagne at the the launch of the 2026 seasons of both the Queensland Theatre Company and of Shake & Stir. If there are any left, I suggest it’s time to buy those season tickets while you can…
Audience information: The Great Gatsby, QPAC Playhouse, Southbank, Brisbane (12 February–8 March 2026—plus 5-6 February at The Empire, Toowoomba). Tickets $79-$139 (plus transaction fee of $7.50). 150 minutes, including one interval. Recommended for ages 14+. The production contains adult themes, sexual references, depictions of racism, sexism and domestic violence, use of imitation firearms, moderate simulated use of cigarettes and alcohol, theatrical smoke and haze, dynamic sound effects and flashing lights.
Additional Credits: Guy Webster (Composer & Sound Designer), Nerida Matthaei (Movement Director, Choreographer and Intimacy Coordinator), Rachel Nutchey (Lucille McKee/owl Eyes/Ensemble), Brigitte Freeme (Onstage Cover/Ensemble), Sean Sinclair (Onstage Cover/Ensemble), Saffron Benner (Dramaturg), Nigel Poulton (Fight Director), Helen Howard (Accent consultant), Gabrielle Rogers (Dialect and Vocal Coach), Yanni Dubler (Stage Manager), Maddison Penglis (Deputy Stage Manager), Georgia Gould (Assistant Stage Manager), Bridget O’Brien (Company Manager), and Grace Sankey (Rehearsal Observation). The Great Gatsby is a Queensland Theatre Company and Shake & Stir Theatre Co co-production, presented in association with The Empire.
The reviewer attended the Thursday 19th February 2026 performance.