Drew Anthony Creative’s spirited production of Saturday Night Fever proves that this 1970s cult classic is far more than a disco nostalgia trip – it’s a muscular, emotionally charged piece of theatre that still has plenty to say about class, identity and aspiration.
First adapted for the stage in the late 1990s, Saturday Night Fever premiered in London’s West End in 1998 (starring Australian’s Adam Garcia as Tony Manero and Anita Louise Combe as Stephanie Mangano), before opening on Broadway in 1999. The transition from screen to stage has preserved the work’s darker undercurrents, an approach reflected in this current production.
Ethan Churchill returns to the role of Tony Manero following his award-winning Perth season, delivering a controlled performance that foregrounds Tony’s restlessness and uncertainty rather than his charisma alone. Churchill’s dance and vocal work is pleasingly assured. His portrayal of Tony avoids sentimentality, allowing the character’s contradictions to remain intact.
As Stephanie Mangano, Regan Barber offers a sharply focused performance, shaping the role around ambition and self-awareness rather than glamour. Her scenes with Churchill develop steadily, suggesting a partnership built on mutual escape as much as attraction. Izzi Green brings much sensitivity to Annette, allowing her vulnerability and longing to surface with clarity rather than melodrama. Green’s performance of If I Can’t Have You was one of the many highlights.
The Manero family dynamic is handled with care. Chelsea Plumley’s Flo Manero carries a sense of emotional fatigue that grounds the domestic scenes, while George Kapiniaris brings a restrained sharpness to Frank Manero. Matthew Casamento supports effectively as Frank Jnr, a priest who is re-evaluating his calling, while Amileya Moro delivers a spirited performance as Linda Manero, Tony’s younger sister.
The supporting cast and ensemble are uniformly strong. Sam Hamilton (Bobby C), Dimitri Raptis (Double J) and Ewan Herdman (Joey) inject swagger, humour and menace in equal measure as Tony’s crew. Hamilton was particularly affecting, especially in his delivery of Tragedy. The Nightclub Singers, Bianca Baykara, Clara Harrison and Thalia Oseguda-Santos are a vocal highlight, elevating the iconic Bee Gees numbers with power and polish.
Director Drew Anthony’s staging is complemented by Jamie & Suzi Rolton’s choreography, capturing the energy and physicality of the disco era without overpowering the narrative. The digital set design allows for seamless transitions between scenes and locations, while Dani Paxton’s costumes clearly evoke the era. Jason Bovaird’s dazzling lighting and Jordan Gibbs’ sound design enhance the nightclub atmosphere without overwhelming the performers.
Under Daniel Puckey’s solid musical direction, the terrific band, featuring Mark Bradley, Anthony Chircop, Aaron Syrjanen and Kieran Rafferty, delivers the Bee Gees’ iconic soundtrack with drive and respect, reminding us why this four-time Grammy-winning score remains one of the best-selling soundtracks of all time.
On the whole, this production of Saturday Night Fever is a thoughtful and disciplined staging, one that acknowledges the work’s cultural impact while offering a considered interpretation that values character, context and clarity over excess.
Saturday Night Fever
Athenaeum Theatre, 188 Collins Street, Melbourne
Performance: Saturday 10 January 2026
Season continues to 25 January 2026
Bookings: www.ticketmaster.com.au
For more information, visit: www.drewanthonycreative.com.au for details.
Images: Ethan Churchill as Tony Manero with the Cast of Saturday Night Fever – photo by Ben Fon | Regan Barber and Ethan Churchill – photo by Ben Fon | Ewan Herdman, Ethan Churchill, Dimitri Raptis and Sam Hamilton – photo by Ben Fon | Clara Harrison, Thalia Oseguda-Santos and Bianca Baykara – photo by Ben Fon
Review: Rohan Shearn