Roaring Into Austin: Leanne Robinson Brings a Bold New Jordan Baker to ‘The Great Gatsby’

When audiences file into the theater for Broadway in Austin’s production of The Great Gatsby, they’ll expect the usual: champagne-soaked parties, glittering costumes, and the tragic romance that has captivated readers for a century. What they may not expect is the electric presence of Leanne Robinson—an actor, singer, and songwriter who’s redefining Jordan Baker for a new generation.

Robinson, who grew up in London in a British-Jamaican family, didn’t initially chart a straight path to musical theater. Her earliest performances weren’t under stage lights — they were in church. “Sunday church was really where I started singing,” she says with a laugh. “That was my first stage.” From there, Robinson dove into musical theater training at 16 before eventually studying business and management in college. For a time, she worked in music publishing. But the pull of the stage proved impossible to ignore. “I started auditioning again and got back into musicals,” she says. “And I’ve been working in the industry professionally ever since.” Now she’s stepping into one of literature’s most enigmatic socialites — Jordan Baker — in the musical adaptation of The Great Gatsby.

Leanne Robinson. Courtesy images

In Fitzgerald’s original novel — and even in many film adaptations — Jordan Baker is more observer than participant. But in this stage musical, the character gets a long-overdue spotlight.

“The show doesn’t just copy the source material,” Robinson explains. “It expands it and looks through a new lens.”

Jordan, in this version, becomes the bridge between Gatsby’s glittering world of “new money” and the established elite surrounding Daisy Buchanan. She’s the one who introduces audiences — and narrator Nick Carraway — to the decadent parties across the bay. But more importantly, she’s a woman who refuses to shrink herself.

“She represents the new woman of the 1920s,” Robinson says. “She’s confident, she plays golf, she makes her own money, and she’s not afraid to challenge men. When I’m in the scene, I’m taking up space — That’s who Jordan is.”

On stage, that confidence translates into a commanding physical presence. The production leans into that independence visually, too. While Jordan traditionally appears in dresses, this version puts her in tailored trousers — an intentional costume choice.

“It’s symbolic,” Robinson explains. “It’s like she’s saying, ‘I’m not like every other woman here.’”

Of course, The Great Gatsby wouldn’t be Gatsby without spectacle.

The production delivers lavish parties, vibrant choreography, and towering set pieces that capture the intoxicating energy of the Jazz Age. Robinson says one number in particular brings the house down.

“My absolute favorite moment is a number called ‘La Dee Dah,’” she says. “It’s this huge party scene at Gatsby’s house. Almost the entire cast is onstage.”

The sequence also features four tap dancers — nicknamed “the Sugars” — whose high-energy routines push the celebration into overdrive.

“They tap for the gods,” Robinson says, laughing. “It’s just so fun to watch.”

Another standout moment for Robinson is Jordan’s big introductory number, “New Money,” which showcases her swagger, confidence, and magnetic charisma. Still, her most meaningful moment comes in a quieter duet with Nick Carraway.

“That’s when you see the softer side of Jordan,” she explains. “She starts to imagine a life she never thought she’d want.”

One of the most striking aspects of the touring production is its intentionally multiracial cast. Rather than focusing on the racial tensions hinted at in Fitzgerald’s novel, the show embraces inclusive casting that opens the story to a broader range of performers and audiences. Her Jordan Baker isn’t defined by race, but Robinson acknowledges that her identity naturally shapes the performance.

“You look at the cast and Daisy is from Afghanistan and she's also half Filipino. Nick is Colombian,” She elaborates. “I think the show has purposely been designed in this way where it's always been cast multiracial. The musical doesn't really focus on the race element, and I think it's actually quite a beautiful decision. Jordan is coming out of me, so inevitably she’ll carry the essence of who I am — a Black woman.”

The result is a portrayal that feels contemporary while still rooted in the world of 1920s America.

For all its glitz and glamour, The Great Gatsby remains a tragedy. Gatsby’s obsessive hope, his longing for Daisy, and the illusions of wealth ultimately collapse. But the musical reframes the story with a final note of resilience. For theatergoers attending the Broadway in Austin run, Robinson promises a show that’s as entertaining as it is emotionally rich.

“Our cast is fantastic. The music is amazing. The set is delicious,” she says with a smile. “And the acting is honest and raw and funny.”

And when Jordan Baker strides into the room — pants, confidence, and all — audiences will see a character who finally claims the spotlight she deserves.

The Great Gasby will be at Bass Concert Hall March 10 - 15, and tickets are available at https://austin.broadway.com/shows/the-great-gatsby/