A Hot Time: SATURDAY NIGHT FEVER at Toby's in Columbia, Maryland

Is it Saturday night? If you’re at Toby’s, absolutely. And if you didn’t have a fever going in, you’ll have one now. It’s SATURDAY NIGHT FEVER at Toby’s in Columbia through November 2, 2025, excellently choroegraphed by Choreographer Christen Svingos.

The music is most of the Saturday Night Fever album by the incomparable BeeGees. It’s a terrific immersive experience, unless you hate disco, (how dare you), filled with color and sound. The band is flawless, the vocals impressive, the choreography inspired, and the cast’s commitment to the performance unrestrained.

Critics were not kind to the debut of SNF onstage in 1999, and it was described by one reviewer (not inaccurately) as “theatre-for-people-who-don't-go-to-the-theatre.” A few decades have passed and the show has ripened somewhat. Selling nostalgia to The Olds is hot nowadays: did you see “Jaws” this summer in major movie theatres?

Regular readers may recall that I’m 1.) not a fan of musical-izing every little thing and B: with few exceptions, not particularly excited by jukebox musicals. I did, however, really enjoy JERSEY BOYS at Toby’s last summer, and several members of that outstanding cast appear in their current offering, SATURDAY NIGHT FEVER. Toby’s, of course, currently sits in the center of a construction site. Despite this, there’s still plenty of parking. 

Short story: go for the disco music and dancing rather than for the brilliant script. Why shoehorn a plot into a show about dance? A CHORUS LINE doesn’t even try. (Brief answer: the movie did, though the original story was only marginally even about dancing.) Cramming in four subplots, as if making up for the weakness of the “main” plot, does the show no favors. Several sequences on a bridge, which apparantly featured heavily in the movie, (which I don't remember) mystify me. These are all ‘book problems.’ I do go on about those. People often will wave away a show’s structural issues to enjoy an aesthetically and auditorily pleasing experience, and this absolutely is that, if you ignore the deeply embedded toxic masculinity, casual racism and rampant, unrepentant misogyny. To be fair, most of these points originated in the movie and were even worse. 

Toby’s itself is delightful. If you’ve been before and were charmed by its aura, do return soon, because its future iteration as part of a massive fancy arts center will have a completely different ambiance. For now, once you’re inside, it’s as though nothing has changed or ever will. The staff is warm, the seating cozy, the service attentive and friendly and the food of such variety that no one should walk away hungry. My gluten-intolerant friend is “stuffed” after dinner, but (after checking with the kitchen) deconstructs a slice of cheesecake to avoid the graham cracker crust. 

The buffet is pleasingly vegetable-heavy: mixed squash, cauliflower, green beans, baby potatoes and the signature Spinach Funque feature on the dinner bar in addition to fish, fowl, meat, and the well-appointed salad bar. I skip tonight's show drink, The Boogie Shoes. Instead, served in souvenir glasses, my companion and I choose a Long Island Iced Tea and a Singapore Sling. We approve of both. 

The source of SATURDAY NIGHT FEVER was English journalist Nik Cohn's New York Magazine article called “Tribal Rites of the New Saturday Night," published June 7, 1976. The magazine sold for seventy-five cents. A year later, Paramount released the low-budget motion picture. 20+ years later, Robert Stigwood, the movie's director, adapted the screenplay for the stage, collaborating with Bill Oakes, the head of Stigwood’s record company, RSO. According to Wikipedia, “In an effort to make it a family-friendly show, many of the film's darker elements, including references to racial conflict, drug use, and violence, were eliminated from the plot.” ‘Eliminated’ is too strong a word, as most of those elements remain, though their intensity and importance have been reduced. Somewhat.  

Mark Minnick, Director, wisely assembles a skillful cast who are youthful, energetic, body-positive and extremely mobile on the dance floor. They move well together in unison and as contrasting elements. The entirety of the staging area is utilized, which makes for some great-looking large group numbers.  Choreographer Christen Svingos does an excellent job blending elements that are authentic to the disco era with more contemporary moves to keep the piece from looking dated. The result is a great deal of fun to watch. 

Under the direction of Conductor/Keyboardist Ross Scott Rawlings, the disco tracks sound authentic, but also updated rather than elderly. Some of the musical numbers are outstanding because of the music. Some of them are outstanding because of the vocalists. Kadejah One' as Candy is fantastic every time she opens her mouth and her numbers with Terrell Chambers as Monte, who keeps popping away from his DJ booth, are absolutely electric. If you were going just to see them, it would not be a mistake.

Patrick Govans has the swagger and sass to sell Tony Manero as Hot Dude on Dance Floor, and Rachel Cahoon, who plays Stephanie Mangano, has the spit and vinegar to match him. Frank Manero, Jr., convincingly played by Toby’s newcomer Noah Mutterperl, has one of the most interesting tangents in the show, and one of the show’s best lines, despite his late entrance. The always-excellent Jane C. Boyle plays Tony’s mother Flo Manero, with Alan Hoffman delivering the volatile Frank Manero, Tony’s father, with restraint and authenticity. 

Tony’s gang and the associated womenfolk are full of YA angst. Tori Weaver as Annette and Shannon Sullivan as Pauline both deliver big vocals and are heartbreakingly convincing as under-appreciated romantic partners. Tony’s pals, played by Nicky Kaider, Joey Ellinghaus, Benjamin Campion and Ben Ribler are cocky, juvenile, loud and intriguing. Mr. Fusco, Tony’s boss at the hardware & paint store, is played by Brian Kaider, who makes his debut at Toby’s in this production. He offers a gentle, world weary, avuncular authority rather than a true curmudgeon. Carter Crosby, in multiple roles, is extremely watchable, particularly when dancing with the impressively flexible Julia Williams.

The dance competition, the theoretical ‘main plot’ of the show, which represents a way for Tony’s dreams to be his ticket out, is an excellent, stand-out sequence. Other remarkable sequences include the awkward get-to-know-you moments between Stephanie and Tony and early musical numbers at the disco. 

Intermission is sufficient for a smoke break or a bathroom break, but maybe not both. Choose wisely. 

Scenic Designer Shane Lowry executes a set design full of '70s visuals which evoke the ethos of the multiple localities. The bridge is rather cleverly done. Sound amplification is a little off tonight, particularly when characters are close to each other. This is a surprise, as Toby’s has good quality sound most of the time. 

Costume Designer Heather C. Jackson gives us period-appropriate, character congruent, eye-catching wardrobe pieces that move well during the many dance sequences. Some guests may recognize items from their own long-ago closets. Some guests wear them tonight. Hair and Wig Designer Jayson Kueberth absolutely nails the hairdos.

If you're unable to personally remember the seventies, due to insurmmountable chronological issues, this production is a fun, semi-accurate take. Have a good time. If you DO remember the '70s, revisit your disco days and hum along with the terrific cast of SATURDAY NIGHT FEVER at Toby’s in Columbia. It’s an intense night of action and full-on surround sound with other human beings, considerate service and freshly prepared food. Take your kids- or grandkids- along and have fun trying to explain the seventies.

Running time: 2 Hours 25 Minutes with one intermission.

SATURDAY NIGHT FEVER plays at Toby's Dinner Theatre https://tobysdinnertheatre.com  5900 Symphony Woods Road Columbia, MD 21044   1-800-88-TOBYS  through November 2, 2025. Prices range from $64.00 -$90.00 for dinner and show. Next up is ELF, November 7 through January 4, 2026.  

Purchase tickets by phoning the Box Office, 410-730-8311 Box Office hours are Monday- Saturday 10:00am- 8:00pm; Sunday 10:00am – 7:00pm. If you prefer to buy tickets online, please only use Ticketmaster.com.

Photo: Night Fever- L to R: Monty, Tony, Candy and Company, played by Terrell Chambers, Patrick Gover and Kadejah One’

Photo Credit: Katie Simmons-Barth

Final Factoid: Nik Cohn, the English journalist (remember him?) who wrote the New York Magazine article on which the film was based, https://nymag.com/nightlife/features/45933/ (the main character is called Vincent), years later admitted that his recounts of “actual events and discussions with people involved” was largely fiction.