A new stage production of the iconic Saturday Night Fever has opened at Melbourne's historic Athenaeum Theatre, but this jukebox musical adaptation is leaving audiences more nostalgic for John Travolta's original film than excited by its own theatrical merits. The show, which runs until 25 January, attempts to channel the gritty glamour of 1970s Brooklyn but ultimately feels like a cheap imitation of the cultural touchstone.
A Tony Manero Without the Travolta Magic
The central challenge for any Saturday Night Fever adaptation is filling the white suit of Tony Manero, a role defined by John Travolta's electrifying and nuanced performance. This production casts relative newcomer Ethan Churchill in the pivotal part. While Churchill physically resembles the character, his portrayal lacks the necessary depth, charisma, and crucially, the sensational dancing prowess that made Tony a legend.
Churchill's Tony comes across as more of a posturing schoolboy than a troubled but gifted young man. His vocal delivery is underpowered, and he shows little of the vulnerability or raw magnetism needed to anchor the story. Most damagingly, the stage version rarely lets him dance with the solo, kinetic energy that made the film's club scenes so iconic, undermining the core premise of his local fame.
A Thin Plot and a Lack of Theatrical Atmosphere
The musical follows the film's simple plot: 19-year-old paint salesman Tony Manero seeks escape from his life in Bay Ridge, Brooklyn, through his Saturday nights at the 2001 Odyssey disco. He pins his hopes on a dance competition with the aloof Stephanie Mangano (Regan Barber), while callously discarding his previous partner, Annette (Izzi Green).
Director Drew Anthony relies heavily on projected backdrops by Aquixel Studios to evoke 1970s New York. While this allows for quick scene transitions, it creates a passive, anti-theatrical environment where actors often simply stand before a screen delivering dialogue lifted directly from the movie. The production's lighting is criticised as excessive and cheesy, with sound quality that is patchy throughout the performance.
Standout Performances Amidst the Glitterball Gloom
Despite the show's core weaknesses, several cast members deliver commendable performances. Sam Hamilton brings significant pathos to the tragic role of Bobby C., even if his solo rendition of 'Tragedy' is over-sung. Izzi Green is excellent as the heartbroken Annette, and George Kapiniaris and Chelsea Plumley add gravitas as Tony's parents, Frank and Flo.
The production has been sanitised for a family-friendly audience, with Tony's coarse language softened and a pivotal, disturbing scene of sexual violence moved offstage. This further dilutes the original story's gritty impact, transforming it into a bland nostalgia trip.
Verdict: A Fever That Never Quite Breaks
This stage version of Saturday Night Fever fails to leverage its one inherent advantage: the live, visceral thrill of dance. The Bee Gees' phenomenal soundtrack remains irresistible, but the pop songs often halt rather than advance the narrative. The result is a production that feels like a cheap knockoff, reminding viewers of the film's brilliance without ever forging its own compelling identity. For true fans, the real tragedy might be spending an evening pining for the original instead of being swept up in a new interpretation.
