In 1977, when the gritty, R-rated movie Saturday Night Fever hit theaters, the futuristically named 2001 Odyssey, where the film’s iconic dance scenes were shot, was a popular real disco in Bay Ridge, Brooklyn. That nightclub is long gone, but its energy and intensity live on, as evidenced in the infectious ebullience propelling Saturday Night Fever the Musical now on stage in the round at Toby’s Dinner Theatre.
Come to this jukebox musical adaptation for its great songs by The Bee Gees — “Stayin’ Alive,” “How Deep Is Your Love,” “Night Fever,” “More Than a Woman,” “Jive Talkin’,” “You Should Be Dancing,” “If I Can’t Have You,” “Nights on Broadway” — and be treated to a dance floor surging with young vocal and choreographic talent flashing back a half century to passions and aspirations as fresh as now.
The story centers on 19-year-old Tony Manero, a paint store clerk from an Italian family in Bay Ridge, famously portrayed in the film by John Travolta. Here, he is played impressively by Patrick Gover with his vulnerability tucked inside muscularity. Interestingly, in this iteration of the musical, Tony doesn’t have an “I want” song — that trope in which a character sings of their woes, hopes, and dreams, often near the top of a tuner. Instead, we learn of Tony’s inner longing gradually in dialogue scenes, such as with his brusque, disparaging father, to whom he says,
You know how many times someone told me I was good in my life? Two! … This raise today [at the paint store] and dancin’ — dancin’ at the disco. You never did!
What makes Tony’s heart hurt is similarly exposed in his scenes with Stephanie, a 20-year-old he is head over heels for, to whom he says,
[W]hen I’m dancin’ at 2001, I got someplace … and I’m somebody. But Monday morning, I’m back at the paint store and it’s not the same … and I think, can’t I feel that way about something else in my life?
To be somebody and be told that one is good. In a production replete with period bellbottoms, big hair, and disco balls, this touching depiction of a young adult’s quest for a sense of self is what feels timeless about Saturday Night Fever. That and the earworm-worthy songlist.
The character Stephanie is a superb dancer and aspiring sophisticate with whom Tony wants desperately to dance (and more). Played beautifully by Rachel Cahoon with striking self-possession, she delivers an “I want” song of her own, “What Kind of Fool [Who’s sorry now],” in which she reflects mournfully on having deflected Tony’s attentions.
Anita, who desperately and pathetically wants to be Tony’s girlfriend (he rebuffs her coldly), also has an “I want” song, “If I Can’t Have You [I don’t want nobody, baby],” which Tori Weaver as Anita belts heartrendingly.
Throughout, the choreography by Director Mark Minnick and Christen Svingos is propulsive, especially in the ensemble numbers, such as the spectacular opener, “Staying Alive,” in which is introduced the ever-repeating gesture of a finger pointing upward. Also vivid is the “Boogie Shoes” number, where we meet Tony and his impetuous gang of four, the Faces: Bobby (Ben Ribler), Gus (Benjamin Campion), Double-J (Nicky Kaider), and Joey (Joey Ellinghaaus). Watching Tony navigate awkwardly between this restless and randy guy world and the realm of responsible romance with a woman, for which he is woefully ill-prepared, proffers this production’s most fascinating subtext. A lot may have changed since the 1970s in male-female relationship ethics; a lot has not.
Paralleling the Tony/Annette and Tony/Stephanie dating dramas is the story of Pauline (Shannon Sullivan) and Bobby. She’s pregnant by him, and he is distraught at the thought of having to marry her. Before their tale turns tragic, they have a punchy musical number, “Jive Talkin’,” in which Sullivan’s vocals are a standout.
Powerhouse vocals are also delivered by two characters on staff at the 2001 Odyssey disco: Kadejah Oné as Candy, the resident singer, totally knocks it out of the park in her “Disco Inferno” and “Nights on Broadway” solos. And in “Night Fever” and “More Than a Woman (Reprise),” Oné and singer/dancer extraordinaire Terrell Chambers as DJ Monty demonstrate that they each could hold a whole show on their shoulders.
In the end, Stephanie warms to Tony, and what changes her mind about him is really moving. They win a dance contest at the disco, but Tony recognizes that the Puerto Rican second-place-winning couple was really better, so he gives the trophy and prize money to them. In this selfless and honorable act, Stephanie sees who he is — and so does he. I love that a musical can make real such a moment of selfhood recognition and realization.
Saturday Night Fever is a little atypical as jukebox musicals go. The story has been significantly sanitized from the movie, and the lyrics can seem patched into an abbreviated narrative with only the thinnest dramatic motivation. But by gosh, the songs are good, the terrific cast boogies all night, and together the music direction by Ross Scott Rawlings and the off-stage orchestra give the gorgeous score all the oomph it deserves.
Running Time: Approximately two and a half hours, including one intermission — and the preshow buffet is A+.
Saturday Night Fever the Musical plays through November 2, 2025, at Toby’s Dinner Theatre, 5900 Symphony Woods Road, Columbia, MD. Tickets, including dinner and show (adult, $74–$92; child, $64–$67), can be purchased by calling 410-730-8311 or online.
The menu is here. The playbill is here.
Saturday Night Fever the Musical
Based on the Paramount/RSO film and story by Nik Cohn
Adapted for the stage by Robert Stigwood in collaboration with Bill Oakes
North American version written by Sean Cercone & David Abbinanti
Featuring songs by The Bee Gees
Arrangements & Orchestrations by David Abbinanti
CREATIVE TEAM
Direction by Mark Minnick
Music Direction by Ross Scott Rawlings
Choreography by Christen Svingos
Lighting Design by Lynn Joslin
Scenic/Properties Design by Shane Lowry
Sound Design by Mark Smedley
Hair/Wig Design by Jayson Kueberth
Costume Design by Heather C Jackson
Production Stage Manager: Cheryl Stansfield
CAST
Reporters: Terrell Chambers, Carolina Tomasi, Noah Mutterperl
Tony Manero: Patrick Gover
Salesman/Jay/Chester: Carter Crosby
Mr. Fusco/Pete: Brian Kaider
Pauline: Shannon Sullivan
Frank Manero: Alan Hoffman
Flo Manero: Jane C. Boyle
Linda Manero: Margaret Kelly
Bobby: Ben Ribler
Gus: Benjamin Campion
Double-J: Nicky Kaider
Joey: Joey Ellinghaus
Annette: Tori Weaver
Candy: Kadejah Oné
Monty: Terrell Chambers
Stephanie Mangano: Rachel Cahoon
Frank Manero, Jr.: Noah Mutterperl
Shirley: Julia Williams
Gabriel/Cesar: Brian Dauglash
Maria: Carolina Tomasi
Ensemble: JC Bost, Carter Crosby, Brian Dauglash, Cameren Evans, Jaylen Fontaine, Margaret Kelly, Carolina Tomasi, Julia Williams
UNDERSTUDIES AND SWINGS
Noah Mutterperl & Nicky Kaider (Tony Manero), Carolina Tomasi (Stephanie Mangano), Brandon Bedore (Bobby, Gus), Brian Dauglash (Double-J, Joey), Benjamin Campion (Frank, Jr.), JC Bost (Pauline), Julia Williams (Annette), Cameren Evans (Candy), Jaylen Fontaine (Monty), Melynda Burdette (Flo Manero), David Bosley-Reynolds (Frank Manero, Mr. Fusco)
Male Swing: Brandon Bedore
Female Swings: Christen Svingos, Meridian To’alepai
ORCHESTRA
Conductor/Keyboard: Ross Scott Rawlings, Catina McLagan, Justin Hardman
Trumpet: Wyeth Aleksei, Mike Barber, Tony Neenan, Franklin Wade
Reeds/Woodwinds: Steve Haaser, Charlene McDaniel, Katie Ravenwood
Trombone: Julian Ayers, Patrick Crossland, Jay Ellis
Guitar: Daniel Lewis, Rick Peralta, Kim Spath
Bass: Matthew Carroll, Linda Cote, Michael Kellam
Drums/Percussion: Mike Feathers, Bob LaForce
