I had never seen the film of ‘Saturday Night Fever’ so didn’t know what to expect other than flared costumes, disco music, and DANCE. The show, on at the Edinburgh Playhouse, delivered on those aspects and much more. The musical follows Tony Manero as he works a dead-end-job and spends his nights dazzling his friends at the local club with his incredible dancing. The prospect of a dance competition gives him purpose and the chance to finally put his talents to good use, while also getting to know his dance partner, Stephanie.
Jack Wilcox is simply awe-inspiring as Tony. He has a tough job of carrying the audience through the musical, mainly through movement rather than dialogue, but he makes it look effortless. Wilcox’s ability to move and own every inch of the stage is incredible to watch as he makes every move look easy, while bringing a sense of bravado and sensuality to the performance that is intoxicating. In the hands of a lesser dancer this part could feel flat or not a strong enough lead for the audience to follow, but Wilcox glues your eyes to the stage when he starts to dance. Tony has an emotional dance-soliloquy towards the end where he can’t let his emotions out in any other way than dance, and it is so perfectly executed that you understand everything he is saying without any words spoken. Wilcox conveys the emotion and turmoil with every step and outstretched arm, creating a genuinely moving performance.
Rebekah Bryant is great as Stephanie. She plays the contrast to Tony’s hyper-masculine and shallow character perfectly. She really sells that Stephanie is trying to make it in a man’s world while also pursuing her passion for dance. The audience feels this struggle and roots for her all the way. Bryant also dazzles when dancing and her chemistry with Wilcox is palpable. They compliment each other perfectly and create some amazing moments that you want to last for much longer.
Harry Goodson-Bevan is fantastic as Bobbie C. He has the tougher job of being the character burdened with a heavy decision in amongst all the disco fun, but never feels one note and still manages to engage thoroughly in the physical performance and choreography. Goodson-Bevan makes Bobbie’s struggle feel life changing and really carries the audience’s sympathies throughout. A tragic character at its roots, but one that stands out as interesting and engaging. Goodson-Bevan portrays a sympathetic little boy caught up in things that are beyond him effectively enough that you’ll still be thinking of his character after the curtain falls.
Billie Hardy is a stand-out as Annette. Burdened with an unreciprocated love for Tony, Annette has a tough arc to go on and Hardy portrays the journey perfectly. Hardy’s performance of Annette is incredibly likeable and funny that when the audience first sees her, it has them wandering why Tony pushes her away. In the end Annette is an audience favourite, all due to Hardy’s astute understanding of her character and her ability to endear herself to the audience.
Marios Nicolaides plays Tony’s brother Frank Jr. He brings a maturity and sadness to his character of a man struggling with leaving the priesthood, no longer the family’s golden boy. Full of wisdom for young Tony and aware of his own role in the family, Nicolaides balances all these things effectively and provides a memorable performance. Dominic Gore as Joey, Liam Morris as Double-J and James Brice as Gus all provide perfect performances as the Jet-like gang boys who will follow Tony to the ends of the Earth and constantly undermine poor Bobbie C. Their presence is always welcome, and they each provide something more than just a random hard man, all bringing more subtlety and nuance to their, frankly underused, characters. Though occasionally the audience is waiting for them to start clicking and whistling at those pesky Puerto Ricans.
This Production’s Ensemble was brilliant. They all added amazing gravitas and energy to the already brilliant dancing from Wilcox, and served to elevate and expand any numbersthey entered, providing many incredible moments of choreography and sometimes carrying the show when certain scenes felt flat. Yiota Theo, Anthony Starr, Emily Bolland, Helen Gulston, Faizal Jaye, Tosca Fischer, Ashley Luke Lloyd and Joshua Clayton all were stellar.
AJ Jenks, Oliver Thomson and Drew Ferry provided the voices and appearance of the Bee Gees themselves above our main action. These three have no right to leave as big an impression as they do. With vocals that make your jaw drop, high notes that could shatter the many disco balls in the auditorium and a presence that emits fun energy and passion, these three are an absolute stand out. The decision to include the Bee Gees could have felt like a tribute act with dancing, but their performances and complete assuredness in themselves makes it so much more than that.
Bill Deamer’s choreography is show-stealing. He captures the essence of the 70’s attitude and culture perfectly, emphasising the importance of music, especially Disco, in the 70’s and its nature of escapism and release. The moves always feel fresh and exciting, and even though the style is solidly from a decade that’s forty years ago now, it still feels new and current, not aged and out of style. Everyone looks comfortable performing these moves, testament to the meticulous choreography and the way it has been taught to the performers. The audience would have no problem if the whole two hours was just dancing, Deamer’s choreography is that good.
Nick Richings’ lighting design is amazing. He uses Disco Balls to his advantage, casting beams into them to light up the entire auditorium in spinning, sparkling spots of gold. It actually feels like being in the middle of a dance floor at times, Richings’ fully immerses his audience in the action with his lighting.
The band are exceptional. MD and keys player Jeremy Wootton, guitars played by Luke Beirne, bass by Danny Grant, drums from Billy Stookes and Trumpet and Flugel by Jonathan Thomson all adds so much brilliance to the amazing motion on stage. This music could have easily been a recorded soundtrack that someone presses play on, but instead this band brings great live playing to the already icon music, making the whole experience better for it.
Overall, this production is great, like mentioned before the dancing and music is incredible. It knows its strengths and it sticks to them. However, certain scenes involving the main family felt like Am Dram acting at times. Certain lines get thrown away that are very heavy and carry a significance, some scenes feel rushed, as if the show itself is trying to get back to the dancing. This doesn’t happen all the time or in every scene, but it is there occasionally and in a professional production just doesn’t sit right in amongst all the quality happening onstage. The songs truly are incredible but sometimes aren’t even enough to distract from one or two cringeworthy scenes. Especially in the first act, the musical feels self-aware at times, so when it tries to be serious it struggles a little. This is not the case in the second act though, as emotional scenes really land in the latter half, making everyone’s hard work worth it, a scene in particular involving Bobbie C is beautifully acted, and the emotions really land. This is definitely a show where the audience can feel the ‘Jukebox Musical’ formula very clearly, sometimes at the detriment to the story, however the hard work and sheer talent of the cast breaks through these barriers and makes for a truly exceptional experience in the theatre.
‘Saturday Night Fever’ runs at the Edinburgh Playhouse from the 1st-5th November.
Theatre Scotland 
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