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“Some foliage is real, some is not; hopefully we created an illusion that blurs those lines,” he says. After The Great Gatsby entered the public domain in 2021, a reading of the Broadway adaptation was held a year later—and dePoo was in attendance. Walking into New York City’s Broadway Theatre two weeks shy of The Great Gatsby’s grand April 25 opening night, the show’s creative team—including scenic and projection designer Paul Tate dePoo III—is buzzing. They’re putting finishing touches on the new musical adapted from the F.
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There's considerable light, views of the water from within the house and, as Fitzgerald wrote, "height and splendor" and "great rooms opening out . . . into other rooms." And while you may still be waiting for your invite to one of Gatsby's infamous parties, what if we told you that you could do one better by actually owning the house? You see, the actual mansion palace that inspired the look of the West Egg estate is now for sale for a cool $85 million, Trulia reports.
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Party like it's the Roaring Twenties in this mansion that is said to have inspired F. Scott Fitzgerald's novel "The Great Gatsby." The estate is now listed for sale and can be yours for $16.88 million. When the couple first visited the home, it was just months away from demolition. The Hodgkinsons bought Kingdom Come Farm and 1.4 acres, including an English garden, in the fall of 2018 for less than $700,000—a significantly lower price than years earlier, when the house and five acres of land were listed for more than $6 million. Over the years the home’s luster faded; it changed hands repeatedly and was remodeled in Colonial Revival style with Art Deco touches in 1938.
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The estate spans 5.33 acres and features a caretaker's cottage, 391 feet of private beach, a tennis court, a six-car garage, a boat house and a guest house. The mansion was originally listed for $19.8 million in December, and the asking price decreased this month. Under Marc Bruni’s jazz-hands-happy direction, this Gatsby feels like it belongs on a cruise or in a theme park. It would make a good fit if Epcot’s pavilions expanded to include time periods as well as countries. A century on, retellers of his story, like his hordes of party guests, remain distracted by the spectacle.
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It was added to National Register of Historic Places in 1976. The now commercial property welcomes visitors for tours, exhibits, and events. There are indoor swimming pools, a lazy river, a hair salon, and a bowling alley. What more could you need for a Gatsby-themed party? There’s also a shooting range, a wine-tasting room, and a spa, so there really is something for everyone. The 1920s waterfront estate is located just 25 miles from New York City in the wealthy community of Kings Point, Long Island – thought to be F.
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Sign up to our newsletter for style and decor inspiration, house makeovers, project advice and more. As part of your account, you’ll receive occasional updates and offers from New York, which you can opt out of anytime. When he was officially offered the job, “It was thrilling,” says dePoo.
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Perhaps it’s not so much which mansion was Gatsby’s; it’s which one is destined to be the next. It was the Roaring Twenties, an era when flapper dresses and fireworks set to brass jazz bands sent nights spiraling into debauched infamy. It was a world we now can only imagine, but once, long ago in the glimmering past, it did exist. And though Luhrmann's set designer Catherine Martin built Jay Gatsby's mansion on soundstages for the film, all that jazz was based on Long Island's real architectural flair. Everything comes together in sparkling detail during Gatsby’s decadent parties, where the musical’s powerful ensemble leaps, sways, and tap dances their way through Dominique Kelley’s energetic choreography. Like Kerrigan, director Marc Bruni struggles with pacing during the first act, but gets into the groove by its second as reality steps in to ruin the group's revelry.
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If you will notice from the maps, that both houses are on the same side of the harbor and even within walking distance along the beach. It might have been possible to have seen Daisy's house from Gatsby's house but it is not across the water. Also both houses are located in Sands Point, which is at the tip of Port Washington. Sands Point is often thought to have be renamed by Fitzgerald as East Egg, the place where old established money lived and not new flashy millionaires like Gatsby.
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His cousin Daisy (Noblezada) is fluttering and giggly but vaguely unhappy when we meet her in a lofty drawing room with windows overlooking Long Island Sound (the elaborate, projection-enhanced Art Deco set is by Paul Tate dePoo III). “God, I’ve made it,” Daisy sings, draped in a cropped and diaphanous cotton-candy dress, “I’m so sophisticated.” (The lavish costumes are by Linda Cho.) The lyrics by Nathan Tysen generally relay backstory and circumstance, whether or not they’re tinged with emotion. For any fan of “The Great Gatsby,” though, it’s likely you’ll have moments of wanting more, of missing out on all the subtext, grit, and suffering beneath the sequins.
Most impressive are the instances when the projections show motion, as when an onstage car remains stationary while screens provide a stunning illusion of movement, especially when crossing the bridge to Manhattan. Rarely has projection design been so expertly executed. With “The Great Gatsby” finally falling under the public domain, it’s no surprise that it’s become a hot property for musical adaptation. The first of these to land on Broadway has music by Jason Howland, lyrics by Nathan Tysen, book by Kait Kerrigan, and direction by Marc Bruni. (The other adaptation, with music by Florence Welch, premieres at American Repertory Theater later this spring.) In this first Broadway version, the creatives have committed wholeheartedly to the spectacle of the story, but forgot the substance. At the end of the long country lane, by Long Island Sound, there are the remains of Beacon Towers, the massive, 100-room Vanderbilt-Belmont estate.
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Linda Cho’s costumes are Vegas shiny for the party people and elegant for the monied types. The production wears excess on its sleeveless flapper dresses. Approached today by a concealed drive, the house boasts a wide flagstone courtyard and an impressive three-story French Normandy-style facade with a mansard roof. Inside, the sheer volume of space recalls the grandeur of another century. A formal dining hall opens out through French windows onto a loggia.
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