Bay Street’s “Great Gatsby” is an Artistic Triumph!

I always look forward to Bay Street Theater & Sag Harbor Center for the Arts Literature Live! productions, and Saturday’s opening night performance of “The Great Gatsby” didn’t disappoint.

Based on F. Scott Fitzgerald's classic novel, "The Great Gatsby," this one-act, full-length drama, which runs from November 5 through November 25, was adapted for the stage by Simon Levy, a playwright who remained faithful to Fitzgerald’s words and vision.

Set mainly on Long Island in two fictionalized towns known as the West and East Egg, “The Great Gatsby” explores the glamorous and decadent period in American history known as the Roaring 20’s.

Charlie Westfal gives a strong performance as Jay Gatsby, an enigmatic man, who made his fortune engaging in questionable and shady business deals. His all-consuming love, desire, and passion for Daisy Buchanan is the driving force behind this drama. Sara Carolynn Kennedy gives a stellar performance as Daisy, using her voice, gestures, and movements to reveal the many sides of this troubled, often childlike, confused, and love-torn woman. The undeniable onstage chemistry between these two romantic leads made the tragic ending of the play all the more devastating to witness.

John Kroft created a believable and likable Nick Carraway. This character serves as a key player in the drama, as well as the narrator, and Mr. Kroft's delivery of some of Fitzgerald’s most memorable and lyrical lines was spot-on.

Alexandra Kopko gave a notable performance as Jordan Baker, a less-than-honest, professional golf pro. Ms. Kopko moved on stage with grace and precision, making us believe that she could, very well, play a mean game of golf.

Dan Fenaughty played the part of Tom Buchanan, a narcissistic, womanizing, bigoted man, with a ruthlessness that sent chills of horror down my spine.

Chauncy Thomas as George Wilson gave a moving performance as a heartbroken husband, filled with rage, remorse, revenge, and regret, a very deadly combination of emotions indeed.

Amanda Kristin Nichols was riveting as Myrtle Wilson, proving herself to be a powerful actress in a part that was both physically and emotionally demanding. Her charismatic performance provided comic relief in some scenes and heightened the overall drama in others.

Scott T. Hinson as Meyer Wolfsheim/Mr. McKee/Policeman, did a great job juggling his multiple roles, and truly reinvented himself with ever character. Stephanie Turci as Mrs. McKee/Mrs. Michaelis gave admirable performances in her supporting roles.

Under the astute direction of Joe Minutillo, this play becomes an intellectually and emotionally stimulating experience that will keep you on the edge-of-your-seat from start to finish. Throughout the 95-minute production, there are many tantalizing moments, such as: the dance and glitzy party scenes where the Charleston was well-choreographed by Stephanie Vertichio, and the realistic fight scenes directed by Christian Kelly-Sordelet will leave you breathless.

Kudos to the entire production crew for making this a throughly enjoyable evening of theatre. Michael Holland’s original score added greatly to the Jazz-age mood of the play. Mike Billings brilliant lighting and Brian Staton’s innovative projection designs, combined with Melanie Clifton-Harvey’s 1920’s authentic period costumes, and Meg Murphy period hair design and make-up, all came together to make this production an overall success.

“The Great Gatsby” really is a remarkable, must-see play!

The Box Office is currently open Tuesday - Saturday 11 am - 5 pm. To purchase tickets, call the Box Office at 631-725-9500 or order online at baystreet.org.

Cindi Sansone-Braff is an award-winning playwright and author of “Grant Me a Higher Love,” and “Why Good People Can’t Leave Bad Relationships.” She has a BFA in theatre from the University of Connecticut. “Tomorrow’s Classic Theatre Company” produced her full-length play, “Beethoven’s Promethean Concerto in C Minor WoO,” a theatrical tribute to the man, the myth, the music, which garnished an “Encore Theater Award,” and “Digital Journal” named it the “Best Indie Play of 2017.”