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Bobby Peterson

The cast performs the finale. Photo by Brian Hoerger

By Susan Risoli

There’s no reason why Theatre Three’s musical version of “Saturday Night Fever” can’t stand on its own, despite starting life as a famous film that defined an era. Audiences who grew up knowing John Travolta as Tony Manero should have open minds, right? Even when the opening night crowd includes one theater patron reenacting the “he hits my hair” scene … and a lady reminiscing about falling off her platform shoes … and a couple boogie-ing down the aisle to take their seats.

Above, the cast performs “Stayin’ Alive.’ Photo by Brian Hoerger

Fortunately for all, those memories didn’t get in the way during the show’s opening performance last Saturday night. The cast, crew and musicians of this version of “Saturday Night Fever” make it their own. We realize there will be subtlety at work here when the performance begins and we are told it’s July 1977, a sweltering summer when even Con Ed can’t take the heat. Then, when the cast takes the stage, they manage to look wilted and pent-up at the same time.

There is a sweetness in the characters as this cast brings them to life, and that’s a good thing. Nobody would dare say John Travolta, Donna Pescow and their colleagues weren’t great in the movie. But they looked older, wiser, already cynical and too tough to convey the fear behind their bravado. Under the direction of Jeffrey Sanzel, the Brooklyn residents on Theatre Three’s stage convince us that these people are kids, still in adolescence or barely out of it. They don’t know which way to turn — they’re lost and mixed-up. When the cast sings, “Life going nowhere, somebody help me,” we want to.

Bobby Peterson as Tony Manero delivers the physicality the role demands. This Tony can strut! But beyond Tony’s frustration, Peterson shows us his confusion, and that serves the story well. Maybe the neighborhood isn’t really the center of the universe? Maybe women can do things reserved for men, and vice versa? Peterson lets us hear the wheels turning in Tony’s head.

Bobby Peterson as Tony Manero and Rachel Greenblatt as Stephanie Romano. Photo by Brian Hoerger

When Tony meets his match in local-girl-made-good Stephanie Mangano, Rachel Greenblatt brings a different shading to the role. Stephanie’s upward mobility seems less grasping here, her ambition less brittle. She’s more like a real person, biting off more than she can chew and dealing with it. Greenblatt too brings the physicality her character needs, and with it a simplicity and economy of movement. With cool confidence, she ties a pretty scarf around her waist, and instantly her sweaty dance clothes become a chic ensemble. We understand why Tony chases her.

And then there’s Annette, played by Beth Whitford. As with all the actors, the youthful innocence of her interpretation of Annette makes the character more compelling. If anyone is trapped by the labels society slaps on you, it’s Annette. Nice girl? Whore? Young woman who makes her own rules? She doesn’t even know that other people don’t have the right to define her. We don’t know if she’ll end up victim or victor, but Whitford has us debating it long after the curtain comes down.

Surprisingly, this production is funny. Yes, the film had its comedic moments, but everything else was so heavy we didn’t laugh long. Here the comedy is part of the character’s daily lives. Tony and his friends are kids, after all, and sometimes kids act goofy. Also displaying skillful comedic timing are Jeff Pangburn as Frank Sr., Debbie D’Amore as Tony’s mother, and Steven Incarnato as Father Frank Jr. And do you have to be Italian to appreciate the show’s amusing cultural references? No, but it’s a sly treat if you are.

Bobby Peterson as Tony Manero. Photo by Brian Hoerger

And oh, the dancing, the costumes and the sets! Somehow we believe that the stage is a cavernous disco. When the full cast dances, it’s great fun to watch them. Remember that couple who take on Tony and Stephanie in the big dance contest? Their Latin dance routine is performed by Nicole Bianco and Alex Esquivel. Wow, just wow—control, passion and flow—something to see. Kudos to choreographer Whitney Stone, costume and wig designer Ronald Green III and scenic designer Randall Parsons for a job well done.

With musical direction by Jeffrey Hoffman, all of the songs are wonderful. Some are the classic 1970s tunes we already know from the Bee Gees — “Stayin’ Alive,” “Night Fever,” “Jive Talking,” “You Should Be Dancing,” and “How Deep is Your Love” — sung here as part of the developing story. The actors do a good job of bringing fresh meaning to old friends. There are new songs too, and they work well.

Sometimes the characters in Theatre Three’s “Saturday Night Fever” are content. Sometimes they explode. Sometimes they don’t know what comes next, and neither do we. But they are well worth hanging out with.

Theatre Three, 412 Main St., Port Jefferson will present ‘Saturday Night Fever’ through June 24. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 to 12. Children under 5 are not permitted. Contains adult subject matter and language. For more information, call 631-928-9100 or visit www.theatrethree.com.

Rachel Greenblatt and Bobby Peterson in a scene from 'Saturday Night Fever.' Photo by Peter Lanscombe, Theatre Three Productions Inc.

By Susan Risoli

Theatre Three’s upcoming musical production of “Saturday Night Fever” has all the irresistible energy of the 1977 film, while it turns up the story and character development. Actor Bobby Peterson of Hampton Bays will tackle the role of Tony Manero, a Brooklyn kid who knows we should be dancin’ — and reaching for a dream. Sitting in the theater’s intimate Griswold’s Café during off-hours, 29-year-old Peterson talked about the show and its lasting appeal.

Why should people come to this show?

This production has so much to offer. It has dance. It’s going to be fun and uplifting. It has enticing and entertaining characters. And people will witness a very beautiful story. In the movie, I think, the story gets lost.

Bobby Peterson will star in Theatre Three’s upcoming musical, ‘Saturday Night Fever.’ Photo by Peter Lanscombe, Theatre Three Productions Inc.

How does this version handle the differences between ‘Saturday Night Fever’ as a movie versus the musical?

How do people deal with it when they read the Lord of The Rings books, versus when they see the movies? A book can do things differently than what a movie can do or what a stage play can do. I just try to look at a story that I’m trying to convey. The first thing I look for is, is this version complete, and continuous, and succinct? Does it have well-written dialogue? Does it have good compositions? A lot of that comes from Jeff [Sanzel, Theatre Three executive artistic director], as the director of the show. As an actor and performer, my job is to convey a director’s vision and an author’s vision, to the best of my ability. I think all actors should be humble in that concept. You’re here to act as an instrument to convey the thoughts and concepts of another person, as best you can. I try to put my own work in technique, in the type of voice and the different inflections I’m going to use, in the dancing and singing.

Is it intimidating to play a role that people are so familiar with?

It is an iconic role. I want to put my own spin on it, but I think a lot of people are going to come to the musical having their own ideas about what John Travolta brought to this role. When I talk to people about it, they talk about the impact of Travolta on the dance floor.

What’s the most fun thing for you, about being in the show?

This is one of those classic triple-threat roles and it’s a challenge to me because every step of the way, there is every facet of what musical theatre is. There’s a lot of dancing. And the script is 130 pages long. It’s a huge memory challenge because there are so many little moments that weave in and out of the dancing. The cast is amazing too. I must say, everyone who Jeff has cast is really great for their roles.

What’s the least fun thing?

Probably the drive here from [home in] Hampton Bays!

Tony Manero has so much swagger. How do you convey the vulnerable part of his personality?

An actor can only be as good as the writer. I feel very supported by the writers, and by the piece itself. It has set up and designed scenes for the actors to convey deeper parts, and different sides, of the characters. This rendition has a scene where after Tony wins a dance contest, he has a whole two pages speaking to Stephanie about how it’s not right that he won, because there’s a couple who danced better than him. That’s his epiphany.

Will the audience have fun?

Yes, there’s plenty of that. When numbers like “Stayin’ Alive” and “Disco Inferno” come on, it is full-cast dancing. The choreographer Whitney Stone has done an amazing job making use of the space that we have. She’s designed her choreography very well. And she’s included some of those dance moves that people are going to want to see.

How did you prepare for this role?

For a role this size, I’ll really micromanage myself. I get home as early as I can, and spend the whole next day focusing on making sure that I’ll be good for the next show. Sometimes after rehearsals, I’ll go to the gym because it is a physically taxing role. There’s a lot of lifts with partners. There’s a strong incentive to really muscle-build, to make sure one is strong enough and fit enough to perform. Mentally, I’m always thinking about the script. I’m always reading through lines in my head. And I grew up as a pianist, so I play the accompaniments myself and sing along with them.

Promotional materials for this production say that it features Tony as ‘humble paint store clerk by day, dance king by night.’ Do you think everyone has that duality inside of them?

No, I don’t. Sometimes what people yearn for is a simple life. I don’t think it’s necessarily everybody’s struggle. I don’t think it can be, for the same reason that there can’t be too many cooks in the kitchen. Sometimes we need people to be comfortable in what they do and what they are, to bring balance to everything.

In the sequel to the film, Tony finds success as a professional dancer. But not everyone can succeed so completely, or on that level. Should we still try?

People can find contentment that they did try. But never trying can eat away at your soul forever. If people feel a calling within them, they’re going to be much better off doing something about that.

What else would you like our readers to know about this show?

I’m very excited for people to come and see it, and then to see what their reaction will be. I don’t think people are going to get completely what they’re expecting and I’m very excited to see how people are going to handle that and how they’re going to react.

“Saturday Night Fever” will run from May 20 through June 24 on the Main Stage at Theatre Three, 412 E. Main St., Port Jefferson. Tickets for adults $35; seniors and students $28; children ages 5 to 12 $20. For more information or to purchase tickets, visit www.theatrethree.com or call 631-928-9100.