Theatre Review: Saturday Night Fever
This review refers to the 2018 touring production of Saturday Night Fever. This show is returning to the Alexandra Theatre in November 2022! Book your tickets here.
It’s been 40 years since the “gritty musical drama” Saturday Night Fever hit UK cinema screens. The film told the story of working-class ladies man Tony Manero, who escapes the harsh realities of life in Brooklyn by strutting his stuff at the local discotheque. When a dance contest is launched with a $1000 prize, Tony sees this as his way out of his grim existence, and into the disco-dancing hall of fame.
The film made a huge star out of John Travolta, who a year later took on his role as teenager Danny Zuko in Grease (despite being 23 years old at the time). The film also helped propel a three-man harmony band called the Bee Gees to stardom, as they were commissioned to produce a number of tracks as a backdrop to the film. The soundtrack went on to become one of the best-selling of all time.
When the film was adapted for the stage back in 1998, it toned down some of the adult themed subjects. And in this latest adaptation produced and directed by Bill Kenwright, we are promised even more music and dancing.
Does it deliver? Absolutely. This adaptation manages to mix fun up-beat music numbers with drama, and those gritty subjects of racism, unemployment, domestic violence, religion, abortion, rape and suicide are all still addressed. At times the juxtaposition jars slightly but on the whole the transition between moody and disco works well.
Formerly of the Matthew Bourne dance company, Richard Winsor takes on the role of Tony Manero. It’s a big ask to step into Travolta’s dancing shoes and iconic white three-piece suit and Winsor manages the role reasonably well, with the requisite swagger and arrogance. He looks a little unsure leading the big group dances, but when he is dancing solo or with new dance partner Stephanie Mangano (Kate Parr) his classical dance training shows and allows him to shine.
As Tony’s best friend Bobbie C, Raphael Pace gets the emotional scenes as he struggles with his relationship and the decisions he has to make. He uses the song “Tragedy” to try and convey his inner turmoil. It’s a little hard to take this seriously as Steps dance moves whirl through my head. Anna Campkin puts in a great performance as Annette, although her own reckless choices and the implications are rather glossed over in this adaptation in order to balance the heavy drama with the glitter and sparkle of a 70s disco.
The choreography by Bill Deamer stays true to the era. There’s plenty of finger-pointing moments and the set with it’s mirrors and flashing dancefloor is a joy. For the first time, this adaptation has the Bee Gees as part of the performance rather than as a soundtrack. Ed Handoll, Alastair Hill and Matt Faull give a flawless performance as the Gibb brothers. Occasionally their harmonies drown out the cast’s solo numbers but this is a show based more on choreography than vocal performances and it lends a feeling of the actors belting out a tune to a background soundtrack. Which we’ve all done. The ensemble dance pieces are excellent, with some incredible dancers forming part of the cast.
The audience are enthralled. Winsor clearly has a strong fan base judging by the whoops and whistles when he makes onset outfit changes. Particularly when donning that iconic white suit.
I didn’t expect to be wowed by this show to be honest, yet I was pleasantly surprised. And when the cast return for a final disco medley, I’m up on my feet. I find myself walking with a Tony Manero strut out of the theatre, to an internal Bee Gees soundtrack. I could indeed be dancing.
Saturday Night Fever is in Birmingham at the Alexandra Theatre until Saturday 29th September, and then tours the UK until February 2019. Tickets can be purchased here
*I was invited to attend this press event by The Alexandra Theatre, however this doesn’t affect my opinion of the show, and an honest review will be given in all cases.
**All photos are by Pamela Raith and are used with permission of the Alexandra Theatre
