There’s something deliciously decadent about walking into GATSBY at the Green Light. Before a note is sung or a body launched skyward, you’re already complicit in the fantasy. The Studio at the Sydney Opera House is transformed into a sultry, art-deco speakeasy, all prohibition glamour and low-lit intrigue. Cocktails flow, the room hums, and suddenly Fitzgerald’s Jazz Age doesn’t feel like literature — it feels like a party you’re lucky enough to be invited to.
The premise is inspired. Rather than retelling The Great Gatsby in a linear, reverent way, this production refracts it through what I’ve lovingly coined as circbaret — a heady blend of circus, cabaret and burlesque that perfectly matches the excess, danger and desire of the novel. Once the show begins, the room crackles with energy as song, dance and jaw-dropping aerials collide in a spectacle that feels both anarchic and meticulously crafted.
Musically, the show pulses with jazz-inflected flair and contemporary swagger, while the choreography balances sultry cabaret stylings with explosive physicality. The aerial work, in particular, is breathtaking — bodies suspended in mid-air like champagne bubbles frozen at their peak, only to burst into motion again moments later. It’s sexy, dangerous, and intensely theatrical.
The ensemble is a knockout. This is a company that understands how to work a room, not just a stage. Every performer is fully alive to the audience, whether executing razor-sharp choreography, soaring above the crowd, or slipping between tables with a conspiratorial grin. There’s a collective confidence here that makes the chaos feel intentional, and the thrills land harder. Even when you think you’ve clocked everyone involved, the show has more tricks up its sleeve.
The ensemble was uniformly electric, with even the wait staff stepping seamlessly into the spectacle and catching the audience delightfully off guard. Among the leads, The Glassy, Thomas J. Egan, tapped his way through the night with effortless flair, while head barman Florian Brooks dazzled with precision juggling that drew spontaneous applause. Oscar Kaufmann’s Gentleman anchored the room with suave authority, while Jacob McPherson and Mariia Borysiak, as the younger Gatsby and Daisy, brought a lyrical softness to the storytelling. Miranda Menzies smouldered as The Seductress, and Spencer Craig, alongside Caitlin Tomson-Moylan, embodied Gatsby and Daisy with muscular aerial work that underscored both romance and ruin. Rounding out the experience, Odette’s Shapeshifter injected an indie edge into her belt-driven vocals, sealing the night with a thrilling sense of unpredictability.
But the performance of the night belongs to The Hostess, Bettie Bombshell. From the moment she commands the room, she owns it completely. Bombshell is an irresistibly engaging presence — cheeky, flirtatious, and razor-sharp in her interactions with the audience. She doesn’t just host the evening; she seduces it, teasing the crowd into complicity and making each spectator feel personally seen. It’s a masterclass in cabaret performance, and the show’s beating heart.
GATSBY at the Green Light isn’t just a night at the theatre — it’s an experience, a party, and a provocation rolled into one. If you’ve ever wanted to step inside Gatsby’s world rather than simply read about it, this is your invitation. Dress up, order another drink, and buy the ticket — because the green light is glowing, and you don’t want to miss what’s waiting on the other side.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins. Follow him on all the socials @talldancraig
GATSBY at the Green Light runs for 75 minutes (with no interval) and plays at the Studio, Sydney Opera House, through 28 March 2026. Tickets are available through the Sydney Opera House.
Disclosure: The Plus Ones were guests of Sydney Opera House.
Image credit: Daniel Boud
