‘Night’ Moves Edge Out Its Story

The real stars of “Saturday Night Fever,” which polyestered its way into the Shubert Theatre on Tuesday night, don’t hit the stage until perilously near the curtain call.

The plot of the pungent 1977 film--a pop phenom that was actually good--has Tony Manero (here played by Richard H. Blake, whose hair you could land a plane on) and his dance partner, Stephanie (Jeanine Meyers), taking home the disco contest trophy. But in his heart Tony knows they’ve been zoomed by the competition, the “Salsation” dancers, Michael Balderrama and Natalie Willes.

And how! Throw in wonderfully energizing comic turns by Stacey Martin and Aubrey Smith, the latter’s ‘fro bobbing and weaving around the former’s improbable flying limbs, and for a few minutes “Saturday Night Fever” becomes the world’s finest edition of “Star Search.”

There is, however, the matter of the rest of the show. Since its maligned Broadway incarnation, the writers have reduced the narrative to sanitized kibble, making extra time and space for director-choreographer Arlene Phillips’ disco catalog. The numbers keep on coming, “Night Fever” on top of “More Than a Woman” on top of “How Deep Is Your Love.” It’s like a “Hooked On Saturday Night Fever” album.

Adapter Nan Knighton has removed most of the screenplay’s racial and sexual taunts. The movie’s rich, ambiguous street romanticism is gone, too. The general mood of this “Saturday Night Fever” is weirdly close to “Happy Days”--a stage musical of which, by the way, is due to open soon in London, where the theatrical “Saturday Night Fever” got started.

The schism here between the energy level and the story particulars (involving gang violence, serial back-seat sex and the like) probably won’t bother those concentrating on the swiveling pelvises. As the Bay Ridge boy with dreams bigger than the Verrazano Narrows Bridge, Blake doesn’t pilfer John Travolta’s every last move. He’s a fine, charismatic dancer, as is Meyers.

As the bundle of pathos known as Annette, Aileen Quinn--star of John Huston’s film version of “Annie”--does well with “If I Can’t Have You.” Jim Ambler’s Bobby C, the character underwritten by the Sal Mineo Pathetic Friend of the Hero Fund, overplays the worminess, but sings soulfully. As our “host,” disco DJ Monty, Joseph Ricci steals some Morris Day vocal mannerisms and generally wears out his welcome.

The dance numbers do not, despite the show’s bumper-car pacing and rhythm. Several cast members previously appeared in “Footloose.” Like “Saturday Night Fever,” “Footloose” was a bald attempt to pickpocket boomer wallets en masse. It’s one way to fill out a subscription season.

At least this show has the Bee Gees tunes.

* “Saturday Night Fever,” Shubert Theatre, 2020 Avenue of the Stars, Century City. Tuesdays through Fridays, 8 p.m.; Saturdays, 2 and 8 p.m.; Sundays, 2 and 7:30 p.m. Ends June 24. $40-$70. (800) 447-7400 or https://www.telecharge.com. Running time: 2 hours, 20 minutes.

Also: June 26 through July 8 at the Orange County Performing Arts Center, 600 Town Center Drive, Costa Mesa. Tuesdays through Fridays, 8 p.m.; Saturdays, 2 and 8 p.m.; Sundays, 2 and 7 p.m. No performance July 4. $28.50-$62.50. (213) 365-3500 or https://www.ocpac.org.

Richard H. Blake: Tony Manero

Jeanine Meyers: Stephanie Mangano

Aileen Quinn: Annette

Jim Ambler: Bobby C

Joseph Ricci: Monty

Rich Hebert: Frank Manero

Suzanne Costallos: Flo Manero

Sean Frank Sullivan: Frank Junior

Stage adaptation by Nan Knighton. Based on the Norman Wexler screenplay, from a story by Nik Cohn. Music and lyrics by the Bee Gees. Directed and choreographed by Arlene Phillips. Scenic design by Robin Wagner. Lighting by Andrew Bridge. Costumes by Suzy Benzinger. Sound by Mick Potter. Production stage manager Jimmie Lee Smith.