ADAPTING GATSBY. I posted here about Gatz, an adaptation of THE GREAT GATSBY in which one of the characters reads aloud all of THE GREAT GATSBY. It’s a wonderful experience, and it is now having a second run at the Public Theater. Barbara Chai interviewed John Collins, the director of Gatz, in the Wall Street Journal (May 8),and asked him about Baz Luhrmann’s coming adaptation of the book. Collins is curious about it, after having spent so much time with Fitzgerald’s words. He volunteered that the risk in adapting the book is in adding material rather than leaving things out (of course, Gatz leaves nothing out). He says: “That’s some of what Fizgerald does best in this book—the way he writes around certain important events and details.”
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I think these are crucial, important decisions, what to leave out of any literary work, maybe any artistic work. The whole point of high-lighting and selection is to structure a piece to be most effective, and to make the most appeal to the imagination. Sometimes an attempt to depict an event, instead of leaving it to the imagination, waters it down horribly. (I almost said “dramatic” instead of “effective” because that is my standard for effectiveness. I once heard a line of mine said that produced a gust of breath-intake through the audience. A highpoint of my career as an aspiring playwright.)