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F. Scott Fitzgerald’s “The Great Gatsby” may be a famously slender novel, but its 200 pages contain multitudes. With the rights to this landmark of American literature now in the public domain, adaptations abound, and its themes and ideas are rich and elastic enough to accommodate a slew of interpretations.

The current Broadway version, “The Great Gatsby,” leans into Jazz Age glamour and romantic yearning; last year’s immersive adaptation at a New York City hotel offered a dazzling feast for the senses; and the Elevator Repair Service’s “Gatz,” a word-for-word rendition of the novel that returns to New York’s Public Theater in the fall, finds a reader inside a drab office being seduced by Fitzgerald’s evocative prose. Now comes American Repertory Theater’s “Gatsby,” whose pre-Broadway world premiere bows at the Loeb Drama Center in Cambridge Sunday through Aug. 3.



This musical adaptation digs into the class issues and melancholic heart of the novel, the “hopeless but determined” quest to achieve the American Dream. The production, with its starry creative team, features a score by English gothic-pop star Florence Welch (Florence + The Machine) and Grammy-winning producer and singer Thomas Bartlett (a.k.

a. Doveman), a book by Pulitzer Prize-winning playwright Martyna Majok ( “The Cost of Living” ), direction by Tony winner Rachel Chavkin ( “Hadestown” ), and choreography by another Tony winner, Sonya Tayeh (“Moulin Rouge!”). Majok fi.

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