Review: BalletMet's 'The Great Gatsby'

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BalletMet all-star Jimmy Orrante had the daunting task of staging F. Scott Fitzgerald's literary masterpiece, "The Great Gatsby," for his first full-length ballet, which premiered April 24 at The Capitol Theatre. And we'd say he succeeded.

Pulling out all the stops, BalletMet presented a dazzling, must-see spectacle, at the center of which was Orrante's magnificent choreography, showcasing him as an artistic force to be reckoned with.

"Gatsby," a tribute to the overconsumption and moral wasteland that was the Jazz Age—often referred to as the Roaring ‘20s—follows Jay Gatsby (David Tlaiye), an inspiring entrepreneur whose only objective is to win the heart of former love Daisy Buchanan (the bubbly Jamie Dee), who is married to Tom Buchanan (Jackson Sarver).

In order to translate "Gatsby" from print to stage, Orrante took a few creative risks that really paid off, effectively stripping the novel down to the central love triangle. Tlaiye and Dee shine as the primary couple. An undeniable chemistry electrifies between them during the various pas de deux they perform throughout the show.

There was just as much drama as dancing, notably from Amanda Phillips-Bosshart, who played Tom's mistress (the ill-fated Myrtle Wilson), and Bryan Jenkins as her husband, George. Jenkins' raged moment of torment after his wife's death is one of the best, presenting a perfect marriage of movement and emotion.

However, it's the boisterous Gatsby parties that are the real showstopper. Employing that controlled chaos BalletMet loves so much, the stage filled with party guests, each working on their own versions of the fox trot while popular jazz and swing tunes pumped through the speakers. The only regret of the night is that there wasn't a live orchestra to complement the production.

Other notable roles include Nick Carraway (an underused Adam Hundt), who acts as narrator, and his love interest Jordan Baker (the elegant Annie Mallonee). Their cheery duets add a complementing contrast to Tlaiye and Dee's tragic love story.

The production sports some pretty outstanding set designs by Peter Farmer, along with beautiful period costumes designed by Rebecca Baygents Turk. Extravagance was the name of the game in 1922, and Farmer and Turk don't hold back in representing it. The girls are adorned in gorgeous flowing dressed and fitted headwear, while the men (somehow still dancing with fluidity and grace) are wrapped in three-piece suites and sharp tuxedoes.

This show is definitely the bees knees, and after watching Orrante soak in the packed house's standing ovation during the final curtain call, it begs the question—where has BalletMet been hiding Orrante all this time? We think it's time Orrante was made a permanent part of the troupe's artistic team. 

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