Saturday Night Fever At The Regent Theatre, Stoke-on-Trent, Review

Reviewed by Alexander Wilde

The mesmerising and uplifting, disco fuelled ‘Saturday Night Fever’ rapturously bursts on to the Stoke stage. Based on the 1977 classic film, which launched the career of John Travolta, and following a highly applauded West End run; this re-imagined and re-vitalised musical is one of the most exhilarating shows currently on tour.

As a child of the 1980s, and teen of the 90s, I had missed the heady heights of the disco era. Regardless, the iconic decade remains hugely influential and culturally significant, no more so than musically. I saw the film many years ago and, as everyone knows, the hits of the Bee Gees feature heavily – catapulting the soundtrack to one of the best-selling albums of all time. As synonymous of the time, as the fashion was revolutionary, the film and associated music are part of the global zeitgeist.

When something so embodies the spirit of the period, it is heavily parodied. Whether or not you’ve seen the film, you know the swagger, the sleek white suit and of course Travolta’s shuffle (it’s even the emoji for a man dancing), so my burning question was: what would this new production bring to the dance floor…?

And the answer: two hours of joyous and soul elevating drama, whose energy stayed with me long after the curtain fell. Truly a triumphant piece of art from all those involved – there were no small parts. Capturing the spirit of the original, this story elevated it to new heights and perfectly balanced complex narratives with feel-good-funk.

That’s not to say the swagger, suit and shuffle aren’t all present and perfect. The marvellous cast are led by the experienced and immensely talented Jack Wilcox as Tony Manero. Easy on the eye, light on the feet, with effortless Brooklyn intonation, he’s every bit the Italian American you expect to see. In addition to his prowess on the dance floor, and leaving some of audience hot under the collar, there is incredible depth to Jack’s portrayal of Tony Jr. He is a complicated character – imprisoned in his community, an abusive home, working class monotony, as well as the generational/social expectations of those around him. Tony has aspirations – recognising them but not knowing how to realise them. His only escape is the 2001 Odyssey Discotheque; respected and acknowledged there, Tony and his crew, just as trapped and insecurely misogynistic, they dominate the dance floor to much furore. At 2001, he meets Stephanie Mangano (the amazing Rebekah Bryant), a potential dance competition partner, who is unreceptive to his charm. Slightly older, wiser and realising her ambitions, Stephanie not only captivates Tony but holds a mirror to a life beyond Brooklyn. The chemistry between the two is palpable and Rebekah’s confident portrayal of another multi-faceted character is exemplary.

Tony’s journey is intertwined with those of his peers and although I could wax lyrical about all the passionate cast, I would like to pick out two whose arcs and performances were most impactful. Making his professional debut, Harry Goodson-Bevan’s depiction of Bobbie C. was riveting. As anxious as Tony about the impending future, Bobbie C subtly unravels throughout the production and his foreshadowing solo singing was perfect. Also desperately needing Tony to be more than he is capable of, the insecure Annette (Billie Hardy) is besotted yet rebuffed. Handling the colourful dialogue, Billie skilfully balances the naivety, humour and heartbreak, and her solo rendition of ‘If I can’t have you’ packs an emotional punch.

The staging is simple, yet highly effective. The set design is a series of fire escape gantries, steps and ladders, instantly recognisable from American apartment buildings. Accompanied by clever backdrops, these shift throughout the production. They do however play second fiddle to the LED dancefloor, mirror wall and glitter balls which illuminate the theatre and wondrous disco scenes.

The choreography, costuming and craft is gloriously 70s and stunning in every aspect. A stellar ensemble!
From the skyline, a Bee Gee tribute feature extensively, belting out the hits with the looks, all the gusto and talent of the originals. The superb band remain on the upper levels throughout the production, backing the Gibb brothers, scoring the drama and providing musical interludes.

Saturday Night Fever is fundamentally a coming-of-age story that explores social issues, marvellously imbued with the magic of disco. It was a complete and satisfying journey, and to paraphrase one of my favourite disco tracks, I was left wanting ‘MORE, MORE, MORE!’ A sure sign of a fantastic night out!

Whatever you are planning on doing this week, I highly recommend ‘cutting a rug’ with the stars of Saturday Night Fever at Stoke-on-Trent’s Regent Theatre.

Five glittering Stars!

Rating: 5/5

Tickets cost from £13 (plus £3.80 transaction fee).

On Stage from 25-29 October 2022, for more information or to book tickets visit https://www.atgtickets.com/shows/saturday-night-fever/regent-theatre/ or call the box office on 0333 009 6690

Regent Theatre, Piccadilly, Stoke-on-Trent, Staffordshire, ST1 1AP | 0333 009 6690

The Regent Theatre stands within a clean, well-lit and safe pedestrianised area of the city centre which has benefited from extensive regeneration. The impressive entrance dominates the parade creating a social focal point. Many theatregoers were out front enjoying drinks in the dry Autumn evening. Arriving by car, routes to the theatre were well signposted and nearby parking was plentiful. We parked on a street with pay and display evening rates; a brief walk from the theatre.

The theatre reopened in 1999 after being restored to its former art-deco glory – the main foyer is elegant and spacious. We were greeted warmly on entering and felt a buzz in the air. We explored the various levels, and we found the bars/concession stands to be well manned, stocked and of standard prices for theatres. I have sat in both stall and circle seats, both are very comfortable and provide excellent views of the stage.