From left, director of "The Great Gatsby" Marc Bruni, producer Shin Chun-soo and composer Jason Howland pose ahead of a press conference at the Korean Cultural Center New York, Friday. Courtesy of OD Company

NEW YORK — Shin Chun-soo, the producer of the new Broadway musical "The Great Gatsby," shared the journey of adapting F. Scott Fitzgerald's iconic novel to the Broadway stage, with the show's director Marc Bruni of the "Beautiful: The Carole King Musical" fame and composer Jason Howland, best known for his orchestrations and arrangements for "The Man Who Laughs" and "Jekyll and Hyde" in Korea.

Shin, who has been in New York since early February overseeing the show's preparations, expressed his newfound connection to the city, heightened by the presence of guests from Korea and the local Korean community at the opening.

"I no longer feel like a stranger in New York," he said, highlighting the support that helped diminish his feelings of isolation that culminated with the musical's debut, during a press conference at the Korean Cultural Center New York, Friday.

"I couldn't believe that I, as a Korean producer, accomplished this on Broadway last night. Although I've launched several shows on Broadway before, this was my first time taking on all the responsibilities alone, which left me feeling quite overwhelmed throughout the day. By this morning, I had finally managed to steady myself."

The producer's deep connection to "The Great Gatsby" was evident as he spoke about the novel's timeless appeal and its reflection of contemporary themes, recounting how — after the disappointment of "Doctor Zhivago" on Broadway in 2015 and the challenges posed by the pandemic — he turned back to classic literature for inspiration.

"Among the many classics I revisited, 'The Great Gatsby' resonated with me the most. Its portrayal of strong, compelling characters who passionately pursue their dreams struck a chord with me. Moreover, the novel's depiction of the Jazz Age — a time when society was driven by material pursuits following war and pandemic — seems particularly relevant today."

Shin acknowledged the formidable task of adapting "The Great Gatsby" into a musical, given the novel's profound impact and the many adaptations that have come before.

"Adapting such a celebrated work is incredibly challenging because it's hard to encapsulate the essence of the original in a different medium. Taking on the musical version was a significant challenge," he said. "I've researched deeply into the novel and academic papers on 'Gatsby.' There's so much to explore, from its deep roots in American history to the symbolic movements of its characters across the country,"

The producer also reflected on the broader cultural impact of the novel, mentioning how it has been interpreted in films, notably the versions starring Robert Redford in 1974 and Leonardo DiCaprio in 2013.

"With over 30 million copies sold, there are countless perceptions of Gatsby's character and story. We aimed to bring our unique vision without being swayed by previous interpretations," he added.

The first Broadway adaptation of "The Great Gatsby" opened on Broadway, April 25. It was produced by Korean producer Shin Chun-soo of OD Company. Courtesy of Matthew Murphy and Evan Zimmerman

From page to stage

Emphasizing the dual themes of the novel, Shin highlighted the creative team's focus on the narrative's inherent tragedy amid the opulence.

"The splendor of Gatsby's parties often masks the underlying tragedy of his unfulfilled American Dream. We concentrated on bringing this bittersweet reality to the forefront of our production," Shin explained.

Bruni, the director, elaborated on the creative process, praising the collaborative environment fostered by Shin, on their way "to take this novel and figure out a way in which the best of what a musical can do could be united with this iconic story."

"(The process) has been so unbelievably wonderfully collaborative and generous on Mr. Shin's part in allowing the freedom to create this piece and also the resources to be able to give it the kind of scale and scope that we never could have dreamed of," Bruni said.

That scale was the key in the challenge of translating the novel's lavish parties and Gatsby's quest for Daisy into a theatrical spectacle that captures the opulence and decadence of the 1920s.

"When you think of 'The Great Gatsby,' you think about Jay Gatsby's marvelous, never-to-be-repeated parties... Gatsby has achieved an aura outside of the book, as being a representative of this opulence and decadence of the 1920s. To deliver the imagination that everyone has of this on stage requires a good deal of scale," Bruni said, adding that producer Shin encouraged the team to "look for ways to make that even grander."

"On the flip side of that, 'The Great Gatsby' is also a great tragedy and that requires a depth of feeling for the actors and a treatment of the plot that takes the audience on a journey, allowing them to feel the tragedy of the events that unfold."

The creative team researched the 1920s, drawing parallels between that era's societal upheavals — including the Spanish flu and rapid technological advances — and today's challenges.

"The question that you always ask when you're making a piece of theatre is why now? And I think that question was answered as it was created during the pandemic... there was a real natural parallel between the society of the 1920s and now," he said. "It has been the cornerstone of our creation."

According to Bruni, the narrative essence of the musical emphasizes the perpetual striving of its protagonist. "That's in tune with the idea of Jay Gatsby's character who never stops wanting. He never stops pursuing Daisy and that hope and that reaching is at the heart of the show," he said, noting the themes of relentless pursuit and the elusive American Dream.

Eva Noblezada as Daisy Buchanan in a scene from "The Great Gatsby" / Courtesy of Matthew Murphy and Evan Zimmerman

Howland's approach to the score was to evoke the era's opulence and the characters' emotional depth.

"There is no better way to absolutely elevate the maximum amount of joy and sorrow than putting a number in each and every scene possible," Howland said.

The creative team also made a significant effort to give voice to the novel's female characters, allowing them more presence in the musical adaptation, expanding from Nick Carraway's singular perspective from the novel.

"(Female characters) have a voice in a musical and they're allowed to sing their own feelings and stand in their own lives. It allowed for those characters to contextualize their actions and their thoughts," Bruni explained.

"For Eva (Noblezada)'s Daisy, she is aware of her situation and how she makes compromises was discussed a lot. We are not excusing her actions, but contextualizing her actions in a broader conversation of relationships and marriage for women in the '20s."

"The Great Gatsby" producer Shin Chun-soo attends a press conference at the Korean Cultural Center New York, Friday. Courtesy of OD Company

Global ambitions

Shin outlined the financial requirements for "The Great Gatsby" musical, revealing that the production has a budget of approximately $25 million, with weekly operational costs nearing $900,000.

"To sustain this show, we need to be in the '$1 Million Club,' meaning we need to earn at least $1 million at the box office weekly. Broadway operates on a very capitalistic model and failing to meet these costs for a few consecutive weeks could likely result in the show closing," Shin explained.

Despite these pressures, he remains optimistic, bolstered by encouraging signs such as offers for U.S. tours.

"The U.S. touring musical market is large and stable and the interest we're receiving is a positive indicator that 'Gatsby' will perform well on Broadway."

Shin also has broader aspirations for the musical's international reach, with hopes to stage the show in major theater markets like the United Kingdom, Australia and Japan.

Beyond the show's immediate success, Shin recognized the importance of his role in paving the way for more diversity on Broadway.

"If this production succeeds, it could set the stage for more Koreans to enter the scene. Until now, there haven't been notable Korean success stories on Broadway, unlike the triumphs seen with K-pop globally. I am determined to establish my presence as a producer in this industry to encourage and make it possible for more Korean producers, creatives and investors to venture into Broadway," he said.

The producer is also keen on introducing more Korean-themed works to Broadway, following the potential success of "The Great Gatsby." He mentioned "Il Tenore," a musical developed by his OD Company in Korea, which centers on Korea's first operatic tenor during the Japanese colonial rule.

"I believe 'Il Tenore' can succeed internationally thanks to its universal themes and high-quality production. There's a growing global interest in Korean culture and well-crafted stories can resonate universally," Shin said.