Review: SATURDAY NIGHT FEVER at Alhambra Theatre And Dining

When I saw Saturday Night Fever on opening night, I knew I already had plans to go back and see the show a second time. I decided to hold my thoughts on the production until I saw it later in the run, for a second time. Sometimes a second look changes your perspective and that was certainly the case with Saturday Night Fever. After seeing the production a second time, I found myself enjoying it considerably more. The overall energy felt stronger and the actors seemed more settled and solid in their roles. There was a greater sense of confidence throughout the performance that allowed the production’s biggest strengths, its music and choreography, to shine even brighter.

The choreography by Tanner Lane remains the star of the show, especially during ensemble numbers. The dancing is energetic, committed, and keeps the production *stayin’* alive, particularly when the familiar disco hits kick in. There’s an undeniable appeal to hearing songs audiences already know and love, and the cast makes the most of those opportunities. I took the opportunity to scan the audience during these familiar hits and could see audience members dancing along and smiling ear to ear.

The partner dances were another highlight of the choreography, showcasing technical ability as well as chemistry between the actors. Christopher Michael Milligan (Tony), had a great connection with Rachel Ann Kocher (Annette) and Charity Walton (Stephanie Mangano) on the dance floor, but the pairing that stood out to me the most was Mia Vazquez (Maria) and Kamari Samuels (Cesar). Their characters are the dancers who ultimately place second in the competition, with the character Tony even acknowledging that the competition is rigged and that they deserved to win. Watching Vazquez & Samuels dance onstage, it was hard not to agree! Their precision, energy and command of the choreography made it a pretty convincing case.

Several individual solo moments also stand out. Rachel Ann Kocher (Annette), Charity Walton (Stephanie Mangano), and Zakary Clausell-Santos (Bobby) each had memorable moments, with their performances of “If I Can’t Have You”, What Kind Of Fool” and “Tragedy” respectively bringing an extra spark to their production. These moments reminded me that while the high energy ensemble numbers may keep the production moving, a strong individual performance can make a familiar song feel fresh all over again. Clausell-Santos (Bobby) absolutely commanded the stage with “Tragedy”. His performance was spectacular, delivering the number with the vocal power and stage presence to make it a true showstopper. The staging of the number also had effective touches. At the moment he sings “you look for somebody, there’s nobody there,” he turns around only to reveal that the ensemble is suddenly no longer behind him. Simple visual choice, but landed beautifully. By the time the number ended, my immediate reaction was “and this is why he was cast in that role.” It was a moment where the casting made perfect sense.

I’ve never seen the original Saturday Night Fever film (a fact that may be considered controversial by some) so I can only judge how the story works onstage and there were moments when I felt the script was missing something. Some scenes felt as though they were missing an extra beat or stronger payoff. A recurring staging choice became particularly noticeable. Several scenes ended with the actor turn and face the audience and deliver a button line before a quick blackout. Rather than feeling like a natural conclusion to the scene, these moments sometimes felt more like the production was telling the audience, “Okay, that’s the end of this scene.” A stronger transition or more organic payoff could have made those moments land more effectively.

That said, the second performance demonstrated how much a cast can grow into a production. The increased confidence and energy made the show feel more cohesive, and the choreography and music continue to provide plenty of momentum. Ultimately, Saturday Night Fever is a production that finds its greatest strength in movement and music. The script may occasionally leave you wanting more, but when the disco lights come up and the cast hits the dance floor, the show finds its rhythm and that’s when it is at its best.

Typically I would encourage you to hurry and get tickets, but this production sold out before opening night! Visit alhambrajax.com to view the upcoming schedule of performances at Alhambra Theatre & Dining!