Reviewed by Jo-Anne Bishop
There is something particularly satisfying about seeing a community theatre production that reminds you just how much can be accomplished with creativity, talent, and a dedicated team. The Great Gatsby, now playing at the Palace Theatre, does exactly that. Directed by Andrea Bennett, the production is an ambitious and visually impressive way to open the London Community Players 2026/2027 season.
First, let’s talk about the set.
David Long’s set design is impeccable. It manages to be both simple and elaborate, elegant without feeling excessive, and beautifully captures the atmosphere of Gatsby’s world. It is genuinely impressive to think that this is a set created by a community theatre. You don’t need a massive budget to transport an audience to the 1920s, and this production proves it.
The costumes were a mixed bag. There were some truly beautiful choices that captured the glamour and excess of the 1920s, but others felt less successful, both in terms of period accuracy and how they showcased the actors wearing them. In a production so visually rooted in the Jazz Age, those details matter. A little more attention to period-specific styling, and character-appropriate choices could have gone a long way toward creating a more cohesive visual world. When the costumes worked, they added enormously to the atmosphere; when they didn’t, they occasionally pulled the audience out of it.
And then there is the music.
The opening of the show, with acrobatics, dancing and live music, is a terrific introduction. Having live jazz musicians on stage adds an energy and authenticity that immediately pulls the audience into the era. It is a wonderful touch and one of the elements that elevates the production beyond simply telling the story.
There are some particularly strong performances throughout the cast.
Derek Roberts as Tom Buchanan is an absolute standout. His physicality, facial expressions and command of the character bring a real sense of believability to every scene he is in. He has a way of communicating even when he isn’t speaking, and that presence elevates the scenes around him.
Tori Charron as Daisy, and Katherine Docherty as her lifelong friend, Jordan Baker, were also terrific. Both brought excellent stage presence and strong vocal projection, making their performances easy to follow and engaging to watch. There was something wonderfully unpredictable about Charron’s portrayal of Daisy — a lightness and almost whimsical quality in the way she moved, spoke, and reacted to the people around her. She captured Daisy’s tendency to be playful and flirtatious one moment, then suddenly more vulnerable or emotionally distant the next.
Docherty, in particular, stood out for me, bringing a confident and assured presence to the role of Jordan. Her overall stage presence really caught my attention. Docherty seemed completely comfortable occupying the space, giving Jordan the self-assurance and independence that are so important to the character. There was a nice sense of restraint in her performance as well; she didn’t need to overplay the character to make an impression.
And Sarah Taylor, who plays Myrtle, is simply wonderful. She has a natural ability to command a scene, and she elevates every moment she is in. From her accent and expressive mannerisms to the way she carries herself, Taylor creates a Myrtle who is impossible to ignore. There is a confidence to her performance that makes the character feel larger than life, while still keeping her grounded in the world of the play. Taylor has a wonderful instinct for the small details that make a character memorable. Her expressions, gestures and vocal choices add another layer to Myrtle, and she seems to understand exactly when to push a moment and when to let it breathe.
Nico Lee Leonard, who took on the role of Daisy’s cousin, Nick Carraway, deserves recognition as well. For a first appearance on the Palace stage, there was plenty to like in the performance. His nerves were noticeable at times, particularly in some of the faster-paced dialogue, where slowing down and allowing the lines to breathe would strengthen the performance. But there is a solid foundation there, and first-time performances take courage. I look forward to seeing how he develops with more experience.
Gatsby himself was a more understated performance for me. Portrayed by Jacob Wilcox, there were moments that worked well, particularly in the quieter scenes, and there was a sincerity to the portrayal that I appreciated. I found myself wishing, however, for a little more of the mystery and magnetism that surrounds such an iconic character. In particular, the relationship between Gatsby and Daisy could have benefited from a stronger sense of chemistry and emotional connection, as that longing is such an important part of what drives the story. There were glimpses of it, but I would have liked to feel that connection more strongly as their relationship unfolded.
The ensemble deserves recognition for creating the sense of a living, breathing 1920s social scene. From the parties to the quieter moments around the edges of the action, they helped give Gatsby’s world its sense of movement, glamour, and excess. The dance sequences were energetic and clearly performed with enthusiasm. At times they felt a little disjointed, but there was no shortage of commitment from the ensemble. It was obvious that everyone on stage was giving it their all and, just as importantly, having a great time doing it. That enthusiasm is infectious.
And perhaps that is what I enjoyed most about this production. There is a genuine sense of joy behind it.
Community theatre is a labour of love. The people on that stage, backstage and in the creative team are giving their time, energy, and talent because they believe in putting theatre into their community. The Great Gatsby is a wonderful reminder of what that commitment can produce. It may not be perfect, but it is ambitious, visually stunning, energetic, and entertaining, and absolutely worth the price of admission.
Congratulations to the London Community Players and everyone involved on a terrific season opener. Here’s to the rest of the season!
IF YOU GO:
What: The Great Gatsby by F. Scott Fitzgerald, adapted for the stage by Simon Levy
Where: The Palace Theatre, 710 Dundas Street, London Ontario
When: September 24th – October 4th, 2026
Tickets: Adult $33 | Senior/Student $30 | Youth (Under 18) $20 In person or at https://palacetheatre.ca/
Reviewed by Jo-Anne Bishop
