The Great Gatsby
by F. Scott Fitzgerald, adapted by Charles Kellett
by F. Scott Fitzgerald, adapted by Charles Kellett
Exec
Director - Charles Kellett
Assistant Director - Amilia Murphy
Producer/Choreographer - Clara Lo Iacano
Special Thanks
Charlotte Patterson
Will Sedgley
Cast
Nick Carraway - Corin Alford
Jay Gatsby - Ed Wells
Daisy Buchanan - Ada Collett
Tom Buchanan - Joshua Steele
Jordan Baker - Millie Hawking
Myrtle Wilson - Amy Kilroy
George Wilson - Malachi Atherton
Wolfsheim/Ensemble - Mark Paget
Catherine/Ensemble - Beth McVicar
Mrs McKee/Ensemble - Stacey Hose
Find linked the play's social media
Prod
Set Designer - Kira Thomasson
Assist. Set Designer - Revna Nyx Charasz
Lighting Designer - Thhomas McCarthy
Sound Designer - Ben Farnham
Costume Designer - Raven Meade
Assist. Costume Designer - Blaise Heywood
Hair & Make-up Designer - Alexianne Charlery-Warner
Assist. Hair & Make-Up - Erin Martin
Stage & Props Manager - Amy Vyskocil-Flint
Assist. Stage & Props - Martha Selfridge
Intimacy Coordinator - Emily Hygate
Dialect Coach - Sidney Schoenfeld
Photographer - Ella Tomlin
Videographer - Ada Demirel
In this new adaptation from Charles Kellett, an ensemble cast brings F. Scott Fitzgerald's timeless classic to the stage for the centenary of the book's publication. At the dawn of the Roaring Twenties, Nick Carraway moves to New York and is immediately drawn into the crazed, vibrant energy of the city. But when his enigmatic neighbour - the exorbitantly wealthy and infamous Mr Gatsby - asks a favour of him, Nick is pulled into a story that shows the darker sides of the Jazz Age.
The Great Gatsby appeared on the summer line-up as the week 13 weekend show, with performances from May 23rd-25th, 2025.
I worked alongside an ASM to source props and organise backstage. We worked within budget to find time-accurate props, most of which were located within the DramaSoc inventory. In all the shows I've done for Drama Society, this definitely takes the cake for being one of the most ambitious and jam-packed. It was important for us as a stage management team to coordinate with the costume team to maximise the space we had backstage with the fast pace nature of the play. We found that due to the large amount of costume changes, entrances and exits, set changes and big cast size, the whole backstage area had to be reworked to make sure all elements could fit. We maximised what limited space we had by utilizing the staircase banister to hang costumes, renovate a space under the stairs where a paint sink is located to be a quick change area, and organized pre-existing, non-show related storage to fit out set pieces. We had to fit 50+ costume changes, 40+ props, a chaise lounge, 4 cushioned stools, 2 chairs, 2 large tables, 6 large pieces that when ensemble put together formed a car, and the cast/backstage crew in a space that was roughly 3.5m by 3m space. It was a huge challenge, and we found that tech and dress was full of trial and error as the cast and crew worked together to get the show to where it needed to be.
As a stage management team, as we were told we couldn't be onstage to help in transitions, we focused on preparing set by presetting props on them and making them easily accessible backstage, so that actors could focus on their quick changes and simply grab what they needed before re-entering the stage. Having two stage managers really helped in this production and keeping everything on track happening. Despite all the hectics, I found it a fun challenge and feel it definitely tested my skills as a stage manager. I'm very grateful to have been working alongside a competent backstage crew, as we really put a lot of unseen work into creating the magic that happened on stage!