Jeremy Jordan and Eva Noblezada star as F. Scott Fitzgerald’s love struck couple in The Great Gatsby Musical. (Photo: Evan Zimmerman)

F Scott Fitzgerald’s storied 1925 Jazz Age novel, “The Great Gatsby” has stood the test of time.

The Great Gatsby Musical, a giant Broadway production, which shares the book’s title, unfortunately, won’t. It fails to resonate as well as its beloved source material, despite its glitz, glamour and spectacle.

Set in the Roaring ’20s, Gatsby follows the reclusive, peculiar millionaire Jay Gatsby (Jeremy Jordan), who has his heart set on winning the affections of Daisy Buchanan (Eva Noblezada).

She’s from an old-line Southern family, who has a passionate relationship with Gatsby, a dashing, but poor military officer, before he is shipped overseas during World War I.

He vows to reunite with her and tracks her down on Long Island, NY. He’s now a wealthy but sketchy tycoon with ties to bootlegging. She’s in a loveless marriage to Tom Buchanan (John Zdrojeski), a boorish man who comes from a staggeringly wealthy, old-money Chicago family.

The musical expands on their seemingly fresh love story, but loses steam when the focus moves to a secondary plot involving Nick Carraway (Noah J. Ricketts). He has a love-hate relationship with Jordan Baker (Samantha Pauly), a professional golfer and socialite friend of Daisy’s.

Directed by Marc Bruni, Gatsby is a musical about the Jazz Age, though it challenges you to find much jazz in the production. Over-saturated with forgettable ballads, it lacks the upbeat, peppy music of the era.

The novel is a tragedy that examines class differences, corruption and the underbelly of the American dream.

The musical seems to brush much of that aside to highlight the love story that transpires in an unfortunate time in their lives. Daisy is married and the mother of a young child when she reconnects with Gatsby.

Though the music and lyrics from Nathan Tysen and Jason Howland are lacking in originality or poignancy, Kait Kerrigan’s book is a fresh take on the tale, even when some of it doesn’t land.

Where this musical really takes flight is with its visual grandiosity and astonishingly creative accomplishments.

Paul Tate de Poo III’s set and projection design are stunning in their execution, as is Linda Cho’s sequined, sparkly flapper costumes.

The details intertwined in speedily moving scenery on the massive stage at the Broadway Theatre (don’t forget, this is the stage that once housed King Kong), is a feat that exemplifies the nature of the Great White Way.

Two vintage cars (a yellow Rolls-Royce and a blue Pierce Arrow coupe) move across the stage, and the parties explode with sparklers and fireworks.

The Long Island Sound makes cameos in the distant projections, with its many hues reflected and complemented in the costumes of the talented actors.

Jordan steps into the role of Gatsby with finesse, punctuating his performance with his incredibly charismatic voice.

To the detriment of the lengthiness of the show, every supporting cast member gets their own number (see Sara Chase as mistress Myrtle Wilson unnecessarily take center stage).

Their songs feel repetitive and gratuitous, meant to include all characters in a show that is extravagant enough without them.

The most resounding moments were Eric Anderson’s jazz-inspired “Shady” number, and the extraordinary choreography by Dominique Kelley in ensemble numbers such as “New Money,” which prominently feature partygoers and flappers.

Bruni’s staging is thoughtful and exciting at all turns; it’s too bad the lackluster music and book don’t live up to the powerful novel.

Notably, The Great Gatsby is produced by Chunsoo Shin, acclaimed Korean musical producer and five-time winner of Korea’s most prestigious theatrical award.

Check out this clip from the show.