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One of my favorite lyrical moments from Florence Welch's Gatsby musical is in Gatsby and Daisy's flashback duet Month Of Love, where Daisy sings this about her feelings towards meeting Gatsby:
All this beauty that I never noticed / It seems that I was closed / And now I cannot help but blossom / And now I cannot help but hope
While Gatsby's feelings towards meeting Daisy are:
All this beauty but I never thought that / I could get so close / And now I cannot help but wonder / And now I cannot help but hope
Like holy shit the play on "closed" and "close"? The book's description of Daisy "blossoming for Gatsby like a flower" being translated so wonderfully into song form in a way that doesn't just read as his fantasy? Gatsby drawing power from his proximity to Daisy? Daisy drawing power from her blooming? His infinite hope infecting them both? The entire song is just so gorgeous and romantic and nostalgic while never hiding the unhealthy foundations that make up their relationship.
I thought that I could fly but I was always on the ground / So young to see so much of hell but now we're heaven bound / How high I'll hang your heart / And never take it down
Cynthia Erivo and Adam Lambert's performances as Jesus and Judas feels straight out of an opera where the sheer force of their technical vocal ability is on full display, which is pretty much exactly what I want out of Jesus Christ Superstar
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how do i even explain how dear new york symphony is to me as a song. man. to me, new york symphony encompasses something just so particularly brutal, the way the song is borne out of the tenderness of imagined queer possibility yet haunted by the vicious lack of possibility altogether. "i am within / & without" is so epitomizing of how they are inducted into the promise of new york (and subsequently, america) as a dazzling site of liberation via their desire, and yet subjected to the perpetual alienation implicit in that induction because of their desiring selves (thinking of new york symphony of a song for nick's imagining of queer possibility / the way that queerness alienates him from all the sites of that possibility). it's the ever-present tragic structure of america--- that the mechanism of liberation is what facilitates its destruction (and also an ever-present reminder that perhaps the opposite is true, that the mechanism of destruction, colonialism, is what births the myth of liberation). and yet all the same, new york symphony is a gentle song, brimming with so many quiet loves (and isn't that all we ever are? quiet loves in tension with the viciousness of the world? what is it, to know that your imaginary is made possible by its destruction, and to still dare to imagine for ways out?)
Thinking about how Gatsby: An American Myth opens with Nick narrating that he "met Gatsby that summer of '22, after the plague and the war," the plague referring to the 1918 Spanish Flu pandemic while also being worded to suspiciously resemble the COVID-19 pandemic. And how this version of the Wilsons had an infant daughter that died to said flu because they couldn't afford medical treatment. And how both Nick and Myrtle then use the same language throughout of searching for "noise" and "life" to fill the parts of themselves lost to years of world-shattering events. And how their search is only a microcosm of a society that dances itself to death in endless parties celebrating the titular American myth of social progress and opportunity in order to hide from the past
Gatsby: An American Myth's creative team being largely female driven is especially felt in its big climactic number, The Dream Fought On. Taking place right at the peak of the Plaza Hotel fight, the song initially focuses on Gatsby's rising panic before it's taken over by two women lashing out against a society that has locked them in place: Daisy's realization that Gatsby's need to have her is no different from the objectification she's endured her entire life ("I'm not a light you can reach to, but someone to love" - sung from her to Gatsby), and Myrtle's declaration that she's wasted on the Valley of Ashes and deserves to be surrounded by people who live instead of haunt ("You're not a man, you're a ghost I could walk right through" - sung from her to Wilson).
That said, the song ultimately ends with a reminder that these two women are not sinking in the same boat as Myrtle's attempt to break out of her poverty is brutally torn apart by Daisy taking the wheel of her own story, the latter's wealth and race allowing for an escape from all consequence ("Salvation's coming" - the ensemble ironically sings as Daisy races towards Myrtle). While it should be noted that the original book's ambiguity on these characters' thoughts serves as its own commentary on the role women were expected to play, this team's desire to earnestly capture their voices and the nuances behind them is what is makes this such a thrilling adaptation in my eyes.
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Yesterday was the official opening night for Florence Welch's Gatsby at the ART and I noticed it hasn't been posted here so here's the official song list! Note that this is an entirely different adaptation of The Great Gatsby than the one currently on Broadway and this list is still subject to change in the future.
Gatsby: An American Myth is a brilliant literary adaptation. it asks: if we bring to the forefront many of the parts that are implied or hinted at in the text, how does that change how we view it?
if Nick and Jordan are undeniably queer, if Gatsby is actually white-passing and not white, if Myrtle and Georgeās briefly-possibly-alluded-to lost child is actually talked about, how much sharper does the bookās critique of the ālostā American dream get?
this musical refuses to let you ignore the nuances of these characters that were (more or less) *already present* in the book.
Daisy is absolutely a victim, but she is *also* a wealthy white woman who is willing to (literally) throw a working class woman under the bus (car) for her own safety, and who is willing to let a man of color face the consequences of her actions. Tom tricking George isnāt exclusively about getting rid of Gatsby, but also about a wealthy white man setting two marginalized characters against each other so that he doesnāt have to deal with them.
when we get to the end, when we meet Gatsbyās dad and learn that heās Indigenous, when we contend with how disproportionately the violence impacts marginalized people, the conclusion is no longer that the American dream is lost or broken, but that it was a stolen thing to begin with.
I am sure there are political critiques I (or others) could / will make, but on first impression, I am blown away by how far it went with displaying the horror of the American machine.
Hello Great Gatsby fans. I havenāt seen much discussion about this so I thought I might share. For the queer, musical theater fans out there, Nick Caraway is a gay man in the new Great Gatsby musical written by Florence Welch
I really hope this version is good and that it goes to broadway. Iām really not a fan of the papermill playhouse one thatās currently running.
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All Hadestown West End lyric changes (as of Feb 15 2024)
Many thanks to @ghostlypawn for posting their audio of Hadestown on the West End :) Keep in mind these are from a preview performance and the production wasn't finalized until Feb 21st, so things may have been altered further since then.
Lines in bold indicate changed lyric
Road To Hell
New Hermes line: "You can tip your hats and your wallets / With your pennies and your pearls / To the hardest working chorus / In the gods' almighty world"
Original Bway line: "Brothers and sisters, boys and girls"
If It's True
New Orpheus final verse: "Brother, look around today / Is this how the world was made? / There must be another way / Is it true? Is it true what they say?"
Original Bway verse: "If it's true what they say / I'll be on my way / Tell me what to do / Is it true? Is it true what they say?"
(Note: In the Hadestown development book Working On a Song written in 2016, Anais Mitchell said she felt If It's True as written on Broadway needed to end on more of a political mic drop and commented she may change it someday. Nice to see she got the opportunity.)
Epic III
New Orpheus section: "I know how it is because he is like me / I know how it is to be left all alone / There's a hole in his arms where the world used to be / When Persephone's gone / His work never done, his war never won / Will go on forever whatever the cost / 'Cause the thing that he's building his wall around / Is already lost / Where is the treasure inside of your chest?..."
Original Bway/NYTW section: "What has become of the heart of that man?" up to "What he doesn't know is that what he's defending / Is already gone"
(Note: I think whether you like this change is entirely dependent on your feelings on Broadway's changes to Epic III. In Working On a Song, an early draft of this new verse can be found with Anais' commentary that her intent was to simplify the Epic so that it became a simple gift of empathy as opposed to the intricate poetry and lyricism of NYTW's Epic, something she couldn't quite finish in time for Broadway's opening. It seems like she and Orpheus might have finally finished their song.)
Miscellaneous
All references to Hermes as "mister" or "missus" are altered (ex: "a god with feathers on her feet... Yes it's Hermes, that's me", "excuse me Hermes" from Orpheus instead of "Mister/Missus Hermes")
(Note: May or may not be specific to Melanie La Barrie's portrayal)
On a relisten, I agree with user @2kkaii ās notes! I now believe Orpheus is singing āIs this how the world will stay?ā In If Itās True rather than āIs this how the world was made?ā like I said in this post. I especially like the contrast to āis this how the world is?ā.
All Hadestown West End lyric changes (as of Feb 15 2024)
Many thanks to @ghostlypawn for posting their audio of Hadestown on the West End :) Keep in mind these are from a preview performance and the production wasn't finalized until Feb 21st, so things may have been altered further since then.
Lines in bold indicate changed lyric
Road To Hell
New Hermes line: "You can tip your hats and your wallets / With your pennies and your pearls / To the hardest working chorus / In the gods' almighty world"
Original Bway line: "Brothers and sisters, boys and girls"
If It's True
New Orpheus final verse: "Brother, look around today / Is this how the world was made? / There must be another way / Is it true? Is it true what they say?"
Original Bway verse: "If it's true what they say / I'll be on my way / Tell me what to do / Is it true? Is it true what they say?"
(Note: In the Hadestown development book Working On a Song written in 2016, Anais Mitchell said she felt If It's True as written on Broadway needed to end on more of a political mic drop and commented she may change it someday. Nice to see she got the opportunity.)
Epic III
New Orpheus section: "I know how it is because he is like me / I know how it is to be left all alone / There's a hole in his arms where the world used to be / When Persephone's gone / His work never done, his war never won / Will go on forever whatever the cost / 'Cause the thing that he's building his wall around / Is already lost / Where is the treasure inside of your chest?..."
Original Bway/NYTW section: "What has become of the heart of that man?" up to "What he doesn't know is that what he's defending / Is already gone"
(Note: I think whether you like this change is entirely dependent on your feelings on Broadway's changes to Epic III. In Working On a Song, an early draft of this new verse can be found with Anais' commentary that her intent was to simplify the Epic so that it became a simple gift of empathy as opposed to the intricate poetry and lyricism of NYTW's Epic, something she couldn't quite finish in time for Broadway's opening. It seems like she and Orpheus might have finally finished their song.)
Miscellaneous
All references to Hermes as "mister" or "missus" are altered (ex: "a god with feathers on her feet... Yes it's Hermes, that's me", "excuse me Hermes" from Orpheus instead of "Mister/Missus Hermes")
(Note: May or may not be specific to Melanie La Barrie's portrayal)
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