Scott Fitzgerald

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In order to publish obituaries a name and phone number of funeral home/cremation society is required. We must contact the funeral home/cremation society handling the arrangements during their business hours to verify the death. If the body of the deceased has been donated to the University of Minnesota Anatomy Bequest Program, or a similar program, their phone number is required for verification.

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The minimum charge is $162 for the first 12 lines.

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If the ad is under 12 lines it will be charged the minimum rate of $162.

Obituaries including more than 40 lines will receive a 7.5% discount per line.

On a second run date, receive a 20% discount off both the first and second placement.

Place three obituaries and the third placement will be free of charge.

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MEMORIAM (NON-OBITUARY) REQUEST

Unlike an obituary, Memoriam submissions are remembrances of a loved one who has passed. The rates for a memoriam differ from obituaries.

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Please call 651-228-5280 for more information.

HOURS: Monday – Friday 8:00AM – 5:00PM (CLOSED WEEKENDS and HOLIDAYS)

Please submit your memoriam ad to [email protected] or call 651-228-5280.

In the century since it was published, St. Paul native F. Scott Fitzgerald’s novel “The Great Gatsby” has been adapted across countless platforms, from film and television to graphic novels and even video games.

In 2021, the book entered the public domain, ushering in a new wave of retellings, including two new musicals. A touring version of one of them opened Tuesday at the Orpheum Theatre in downtown Minneapolis. (The other, “Gatsby: An American Myth,” was co-written by Florence Welch of the band Florence + the Machine. It hasn’t been staged since its 2024 premiere run in Massachusetts.)

This glitzy new take comes from a trio — Jason Howland and Nathan Tysen providing the music and Kait Kerrigan the book — who largely follow the main beats of the novel. Nick Carraway (Joshua Grosso) is a St. Paul native who moves to New York after serving in World War I. He finds a rental cottage on the estate of Jay Gatsby (Jake David Smith), a fellow veteran with a mysterious past and a fondness for throwing lavish parties he doesn’t personally attend.

It turns out Gatsby is in love with Carraway’s cousin Daisy Buchanan (Senzel Ahmady), who is trapped in a loveless marriage to abusive alcoholic Tom Buchanan (Will Branner, a highlight in the cast). Curiously enough, the show completely ignores the sexual tension between Carraway and Gatsby. It’s an exceedingly rare move for a modern musical to ignore the gay subtext of the source material. (It’s also an odd creative choice to portray Gatsby as a musclebound, lovelorn himbo.)

The creative team fully embraces the sheer decadence of the Jazz Era through an innovative set that includes physical backdrops and video projections, an eye-popping series of sparkly, jewel-toned costumes and a set of serviceable, if unremarkable, songs that keep the action moving.

Budding sexual relationships — both inside and outside of marriage — fuel a storyline stuffed with love, lust and depravity. And, for a while anyway, it’s a lot of fun to watch. The show, which debuted on Broadway in April 2024 and remains in production to this day, offers all the spectacle audiences expect from a big-budget blockbuster. Two of the full-company numbers — “New Money” in the first act, “La Dee Dah with You” in the second — give the talented ensemble ample opportunities to shine.

As improbable as it may sound, this take on “The Great Gatsby” presents itself as a sort of slapstick romcom. It may well be the first adaptation of what’s widely considered to be one of the great American novels that can be accurately described as a madcap romp — until the second act.

For all its eye-popping song-and-dance numbers and amusing asides, the show seems to forget that the novel is a tragedy. It’s about a series of craven, morally vacant ghouls who value their own pleasure over any societal norms. It tackles thorny issues of class struggle, early feminism and gross inequity. This isn’t “The Great Gatsby” generations of readers know and adore. It’s a glossy — and, to be clear, often entertaining — reimagining that ignores most of the key themes of the text.

The tail end of the aforementioned second act does address some of the novel’s darkness with an abrupt tonal shift that left Tuesday’s audience gasping in horror, rather than glee. This version of “The Great Gatsby” works best if one just forgets about the book from whence it came.

‘The Great Gatsby’

When: Through Sunday

Where: Orpheum Theatre, 910 Hennepin Ave. S., Minneapolis

Tickets: $213.90-$70.45 via hennepinarts.org

Capsule: A spectacular show that opts out of the messy themes of the source material.