Kansas City Ballet Dancers in Septime Webre's The Great Gatsby. Photography by Brett Pruitt & East Market Studios.

My niece Katie and I recently spent a delightful evening captivated and highly entertained bythe Kansas City Ballet’s adaptation of F. Scott Fitzgerald’s novel The Great Gatsby. Neither of us had particularly enjoyed the novel, so we didn’t quite know what to expect. The dancing would need to tell Fitzgerald’s story of how desire and class collide in the glittering but hollow world of old and new money.

But before attending the ballet, we decided to have dinner at the Mexican restaurant across the street from the Kauffman Center. It wasn’t difficult to identify who else was going to the ballet as many patrons were dressed as flappers. Bob cuts and cloche hats were in abundance, some even sporting feathers in their hair. The lobby of the Kauffman Center offered a further display of Roaring 20s apparel. And the fun had just begun.

I know about as much about ballet as I do the inner workings of my laptop computer. What I do know, however, is when I’m having fun. The Great Gatsby was riotous from beginning to end. The set design was spectacular, mimicking not only the Art Deco rage of the era but also the degrading and grimy life of the working class. Rapid scene changes from the glitter of Gatsby’s mansion to images of factories spewing black smoke were seamless and highly effective, at one point even having crows fly through the soot and grime. 

Kansas City Ballet Dancers Andrew Vecseri and Kaleena Burks in Septime Webre's The Great Gatsby. Photography by Brett Pruitt & East Market Studios.

Bill Novick’s Blue Syncopators provided music that was both true to the era and superbly performed. Eboni Fondren added a lusciously sultry voice in several songs and was rewarded with loud, approving shouts and applause from the packed house. At one point, Lonnie McFadden appeared on a platform no larger than a bass drum and wowed the audience with tap dancing so syncopated and rapid it left me slack-jawed. 

Guest artist Lonnie McFadden in Septime Webre's The Great Gatsby. Photography by Brett Pruitt & East Market Studios.

The ballet troupe itself was a study in grace, strength, beauty and athleticism. Suppleness abounded, party scenes were near manic in their frenzy while humor was injected by the merest gesture. To tell a story through dance requires a special talent and choreographer Septime Webre displayed that and more. Whereas there was a narration by Tanner Rose who read snippets from the novel, the story was superbly illustrated through every movement, every expression, even by winks and shrugs.

The production continues through the weekend of May 15th through May 17th. So do yourself a favor. Step back in time to the glamour of the Jazz Age. Maybe put a feather in your hair but definitely go see The Great Gatsby at the Kauffman Center. You won’t be disappointed. Show times are 7:30 PM Friday, May 15, and Saturday, May 16 and 1:30 PM Sunday, May 17. For tickets, 816-931-8993 or kcballet.org.

Guest artist Eboni Fondren with Company Dancers Elliott Rogers and Cameron Thomas in Septime Webre's The Great Gatsby. Photography by Brett Pruitt & East Market Studios.