TOM TITUS -- Theater Review

In case you haven’t noticed it, the 1970s are back, at least in the

realm of theater. Mel Brooks’ early-1970s movie “The Producers” reigns

supreme on Broadway and “Saturday Night Fever,” the definitive ‘70s

movie, is kicking up its heels in a touring stage production at the

Orange County Performing Arts Center.

Now I remember the ‘70s, and I certainly remember “Saturday Night

Fever.” I just don’t remember either being QUITE SO LOUD. That’s the

first thing you notice about this show -- or perhaps the second after all

the awesome dancing -- that the decibel level is high enough to scare the

crows off the light poles outside.

Despite the din, “Saturday Night Fever” is a whopper of a musical,

even if it tends to stress footwork over character development,

particularly in its first act. Even in some quiet twosome scenes, there’s

likely to be a chorus stepping lively in the background.

Set in Brooklyn of 1976 (or, the program adds, whenever you were 19),

Nan Knighton’s adaptation of Robert Stigwood’s brainchild is remarkably

faithful to the movie and, of course, offers the terrific songs from the

Bee Gees that punctuated the John Travolta version. But the emphasis in

director-choreographer Arlene Phillips’ production is on footwork, as it

probably should be.

Dancing at the local disco (ironically known as the 2001 Odyssey) is

how Tony Manero (the Travolta character) and his buddies work off steam

at the end of the week, and he’s the king of his hill. Richard H. Blake

plays Tony with a seething blend of macho moves and ethical integrity

that’s almost out of place in a teenage body, but Blake makes it work

handsomely, particularly in his response to the outcome of the dance

contest.

Another character contradiction is Jeanine Meyers’ dancing queen,

Stephanie, whom Tony pursues as both a dance partner and potential

squeeze. Stephanie exudes class on the floor while fighting her classless

Brooklyn demeanor when the music stops. Her belted solo, “What Kind of

Fool,” is impressive, but it comes virtually out of nowhere.

Petite Aileen Quinn skillfully plays the pathetic Annette, who pursues

Tony shamelessly throughout the show, even appearing at one point with a

string of condoms. Jim Ambler is comically touching as the luckless Bobby

C., a physical and moral coward who avoids gang rumbles and frets over

being forced to marry the girl he’s impregnated.

Tony’s Brooklyn buddies are enthusiastically interpreted by Andy Karl,

Joey Calveri and Danial Jerod Brown, all highly skilled dancers.

Joseph Ricci steals his scenes as the randy deejay Monty, and Sean

Frank Sullivan contributes some touching moments as Tony’s brother, who

leaves the priesthood to the dismay of his parents (Rich Herbert and

Suzanne Costallos, a pair of fractious dinner table companions).

“Saturday Night Fever” predictably heats up on the night of the dance

contest, where a black couple (Aubrey Smith and Stacey Martin) and a

Puerto Rican pair (Michael Banderrama and Natalie Willes) give Tony and

Stephanie all the competition they can handle. Their freewheeling,

all-stops-out moves are contrasts in styles but definite show stoppers.

Scenic transitions are accomplished seamlessly, particularly the two

segments involving the Verrazano Narrows Bridge, depicted as

realistically as possible on a theater stage.

Were it musically backed on a lower decibel level, “Saturday Night

Fever” would be immensely enjoyable. As it is, the show sparkles with

intricate, visceral choreographic action calculated to exhaust the

audience as well as the actors.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Thursdays and Saturdays.

FYI

WHAT: “Saturday Night Fever”

WHERE: Orange County Performing Arts Center, 600 Town Center Drive,

Costa Mesa

WHEN: 8 p.m. Tuesdays through Fridays (dark July 4), 2 and 8 p.m.

Saturdays, and 2 and 7:30 p.m. Sundays until July 7 and 2 p.m. July 8.

COST: $28.50-$62.50

PHONE: (714) 556-1212