Encountering cultural bellwethers of the past with fresh eyes often reveals pitfalls we didn’t notice or tended to forget. Tastes change, styles don’t hold up and what seems fresh and revelatory in the moment can now feel passé and frustrating.
The live musical adaptation of “Saturday Night Fever,” the iconic disco movie musical from the late ‘70s with The Bee Gees’ unforgettable songs, which opened this weekend at Laguna Playhouse, is visibly not in step to the challenge of memory.
Saddled with a tiresome book, and three extra songs not from the original movie, the production’s uneven pacing takes its toll over a long 2 ½ hours. Energy generated by notable performances or upbeat dance moments are slowed to a crawl by lengthy black-out scene changes.
And while the trademark white suit makes an appearance, there is no illuminating staging, much less dance floor, showcasing the moves.
There are some things to like on display, however.
Casting a Tony Manero — paint delivery boy by day, dance-floor lothario by night — would seem an impossibility given John Travolta’s eternally long shadow, but for a non-Equity vehicle, Dorian Quinn’s casting feels like something approaching a coup.
Since dancing is all that Tony has to stay alive on the dead-end streets of 1977 Brooklyn, every Tony requires chops and Quinn is not merely at ease with the dance requirements, but using his large frame as an asset, he often dwarfs the proceedings, in this case, a very good thing.
Visually, he reminds a bit more of a fit Elvis — never a bad thing — than a Travolta. Certainly, the appreciative murmurs from the audience early in the play when the actor has more skin than costume on display indicates Manero’s inherent sex appeal is a box checked.
As his dance partner, Natalie Kastner’s aspirational Stephanie — in search of the better life to be found across the bridge in Manhattan — is a suitable verbal jousting, as well as dancing, partner for Tony. In particular, her outer-borough accent was terrifically in place, underscoring the actresses’s ability to push back and pointedly establish her character’s independent identity.
Singing isn’t a consistently strong point across this troupe. Easily dominating vocally is Dwan Hayes as the waitress and occasional co-host at the 2001 Odyssey, the nightclub where the most memorable scenes take place. Hayes’ bio of credits shows a series of strong vocal roles, and she elevates key numbers — accompanied by more miss than hit recorded instrumental tracks — like “Disco Inferno,” “Nights of Broadway” and “More Than a Woman.”
Some of the disconnects in this show are flat out puzzling. Tony’s brother, who has quit the priesthood, and his sister, are virtual non-entities in this production and the bitter workings within Tony’s struggling Italian American family are time sucks and not impactful.
Most baffling of all is the lack of an accurate death count near the end of the show. High beam flash lighting intentionally disguises from the audience whether it’s one or two characters who tumble off a bridge. Subsequently, there’s only a memorial for a male character, while the other one, the hapless Annette (Daniella Castoria) who has been prominently rejected by Tony in a major secondary plotline, vanishes without further mention from the rest of the show.
At least a couple scenes stick with one in a good way. Perhaps the most indelible stage work is the second act opening dance scene, choreographed by Karen Babcock Brassea, who also directs the show.
With an elegiac vocal reading from Hayes, this slowed down version of “Nights of Broadway” is stylized as a balletic ensemble piece and for a moment or two, the show compels and captures us with something approaching theater magic.
A bit more magic would be welcome.
‘Saturday Night Fever’
Rating: 2 ½ stars
Where: Laguna Playhouse, 606 Laguna Canyon Rd., Laguna Beach
When: Through Sunday, July 17; 7:30 p.m Wednesdays-Fridays, 2 and 7:30 p.m. Saturdays; 1 and 5:30 p.m., Sundays. Added performances 7:30 p.m. Tuesday, July 5 and 2 p.m. Thursday, July 14. No performance at 7:30 p.m. Wednesday, July 13.
Tickets: $55-$95
Information: 949-497-2787; lagunaplayhouse.com
COVID-19 protocols: The Laguna Playhouse is no longer requiring vaccine or testing checks to attend performances. Masking is optional at the discretion of the attendee. This policy is subject to change without notice and may not apply to every performance.
