A Baltimore accent in Brooklyn

THE BALTIMORE SUN

Saturday Night Fever might seem like Brooklyn through and through. But the musical based on the 1977 movie has a subtle Baltimore flavor.

Three Baltimore natives figure prominently in the production that opens at the Lyric Opera House on Wednesday: Nan Knighton, who adapted the book; actor Andy Karl; and Jon B. Platt, who is co-producing the tour. Last week all three shared insights about the show, their lives and Baltimore.

Nan Knighton

If it hadn't been for a 1905 novel about the French Revolution, Nan Knighton might never have found herself writing about 1970s Brooklyn.

The novel was The Scarlet Pimpernel, which Knighton adapted into a Broadway musical, for which she also wrote the lyrics. Her Broadway debut, Pimpernel earned her a Tony nomination. It also earned her praise from Robert Stigwood, who produced the movie Saturday Night Fever and asked Knighton to adapt the screenplay for the musical stage.

Working with an existing score -- mostly by the Bee Gees, who added two new songs to their hit disco soundtrack -- was one of many challenges Knighton faced on Saturday Night Fever. She also had to deal with the movie's rapid cross-cutting from location to location.

"It's just all over place," she says. "So I had to do a lot of consolidation of scenes. I had to do transitions in and out that would smooth going from one place to another, and I had to do some additional dialogue and make it seamless enough so it meshed."

Knighton continued to tweak the script after its successful 1998 London debut. But she faced another task after a critically panned run on Broadway in 1999.

For the tour, co-producer Jon B. Platt wanted her to remove as much profanity as possible to attract family audiences. "That was probably one of my biggest challenges -- to find good substitutes for words," she says. "In some of the cases it was not too hard. 'Jesus' could be changed to 'jeez,' but other things were a real challenge. ... It was very important for me to keep the raw street feeling."

A 1965 graduate of Bryn Mawr School, Knighton, 54, is the daughter of a physician, Dr. Donald Proctor, and his wife, Janice, an artist. She sees almost no parallels between the private-school world she grew up in and the harsh, urban world of Saturday Night Fever, a coming-of-age story about young working-class men in the Bay Ridge section of Brooklyn in the 1970s.

"It was just like this sequestered little ivory tower ... a lot more innocent," she says of her Baltimore upbringing. An even greater difference, she continues, was that "there were a lot more opportunities" than the slim options available to the musical's characters.

For Knighton, those opportunities led to an undergraduate degree from Sarah Lawrence College and a master's degree in creative writing from Boston University. And though she was a middle-aged mother of two by the time she made her Broadway debut, she had written for TV, film, cabaret and Radio City Music Hall before getting her big break on Pimpernel.

The Scarlet Pimpernel continues to open doors for Knighton. Currently, she's collaborating with Pimpernel composer Frank Wildhorn on a new musical based on the life of French sculptress Camille Claudel, mistress of Auguste Rodin.

Andy Karl

Andy Karl plays the loud-mouthed character of Joey in Saturday Night Fever, but once a week he gets to strut his stuff in the lead role of Tony Manero. And in real life he's one Tony who has rewritten the script.

In the show, a girl named Annette has a hopeless crush on Tony, who doesn't want anything to do with her. Last January, however, Karl, 29, married the actress who originated the role of Annette on Broadway, Orfeh (who uses only her first name). It's a happily-ever-after story that he describes as "a beautiful, wonderful life."

Karl had joined the Broadway cast of Saturday Night Fever midway through its 13-month run. Though he was cast as Tony's friend Joey, he also understudied the lead, duties he is repeating on the road.

"Joey is the joy boy. He's the guy who's the loudest and laughs and always cracks a joke. I'm always snapping my fingers and cracking some wisecrack," says Karl, who feels his own personality is closer to that of the more sensitive Tony.

Though he's guaranteed a turn as Tony one performance a week on tour (he'll play the role Sunday night at the Lyric), he had to wait three months for a chance to play Tony on Broadway. He'd just come from an audition when he found out the Fever star had hurt his shoulder.

"It was invigorating because I'm going to play this lead on Broadway, walking down center stage, strutting my stuff as Tony Manero -- John Travolta's role," he remembers thinking. "The spotlight's on you. There's a moment where you take off your shirt and the audience applauded, and I thought once I got through that, everything was going to be O.K."

Saturday Night Fever was Karl's Broadway debut, but even before that, his credits had a rock-and-roll beat -- from the national tours of The Who's Tommy and Cats (in which he played the rock star cat, Rum Tum Tugger), all the way back to Grease at Towson University's Maryland Arts Festival, almost a decade ago (under the name Andrew Karl Cesewski).

Seeing the Broadway production of Tommy "changed my whole attitude toward what musical theater is. It was rock music, which I loved. It was, like, we can incorporate this now," Karl says. "I think I saw it 18 times. I would go and get those $20 seats."

Nor does his preference for rock musicals show any sign of lessening. Earlier this month, he took a brief leave from Saturday Night Fever to appear in a new musical, Me and Mrs. Jones, in Philadelphia starring Lou Rawls and Darlene Love.

"I had to pinch myself in rehearsals. There's Lou Rawls singing 'Lady Love' in front of me in one of my scenes," says the still star-struck Karl. The show also gave him another opportunity to perform with his wife, who isn't part of the Fever road company.

Karl is planning to leave the Fever tour at the end of January. Last week he auditioned for a new musical. Not surprisingly, it's a rock musical -- Queen's We Will Rock You.

Jon B. Platt

Producer Jon B. Platt believes the coming-of-age tale at the heart of Saturday Night Fever is a universal story. "I think teen-agers are teen-agers basically, and coming of age is just a rite of passage that kids have to do. Along the way they certainly make their mistakes chasing their dreams, but at least they're out chasing them. Growing up in Baltimore isn't very different from growing up in any major city."

Platt, who was raised in northwest Baltimore and graduated from Pikesville High School in 1972, worked on plays in high school, but it wasn't until his senior year at Boston University that he decided to make theater his life. "I got a job as an usher in the second balcony of one of the theaters here and just fell in love with it," he says from his Boston office.

Six years later, he mounted his first professional show in Boston, a small Motown musical called Dancin' in the Street! "We did the thing on a shoestring, and it was a big hit. It ran for a couple of years," he says.

Since then, he has amassed Broadway credits -- and three Tony Awards -- for shows ranging from Tony Kushner's Angels in America to Michael Frayn's Copenhagen. Credited with revitalizing the commercial theater scene in Boston, he ran three theaters in that city -- the Charles (which he also owned), the Colonial and the Wilbur -- until 1998, when he sold his business to SFX Entertainment. "It was one of those offers you cannot refuse," Platt, 47, says of the multimillion-dollar deal.

Now strictly an independent producer, he is following in the footsteps of his uncle, George Platt, a Baltimorean whose Broadway credits include Oh, Calcutta! and The Rothschilds. "When I was in high school and we would take these once-a-year trips to New York, he really made it accessible to me -- backstage tours and dinner at Sardi's," Jon Platt says.

With Saturday Night Fever, whose tour he co-produced with the movie's producer, Robert Stigwood, Platt is, in a way, back where he started -- mounting a dance-oriented show with a pop score. "There are some smoking dances in this show," he says.

Far from dissuaded by the musical's chilly New York reception, he was convinced he could make a scaled-down production work on the road. "I thought that while it wouldn't necessarily be recognized for moving the art form forward, it certainly could be something that would be of great entertainment value and enjoyment for a lot of people, and it's turned out to be that way," he says.

His latest projects also focus on entertainment: a "re-imagined" revival of Man of La Mancha and, unlikely as it might sound, a stage version of Debbie Does Dallas, which Platt optioned after seeing it at the New York International Fringe Festival in August. He hopes to produce the show off-Broadway. "It's the script to the famous adult film, but done without any of the profanity and any of the sex," he says. "It's just funny."

'Saturday Night Fever'

Where: Lyric Opera House, 140 W. Mount Royal Ave.

When: 8 p.m. Wednesday-Saturday, 7:30 p.m. Sunday; 2 p.m. Saturday and Sunday

Tickets: $30-$68.50

Call: 410-481-7328

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