THIS AIN'T NO DISCO


The creators of this rock opera, presented by the Atlantic Theater Company, can’t seem to make up their minds if this is mainly an ode to the long-departed Studio 54 or a tale of messed up characters who become part of the scene. The result is a hodgepodge, although a very vigorously staged and choreographed mess, with songs that only occasionally hit an emotional mark. “This Ain’t No Disco” ain’t no winner, although there is plenty to ogle and all of the performers, main and supporting, work their often-shaking butts off.

The audience is greeted by a mélange of scaffolding at the sides of the stage, with stairs for the performers to run up and down, and with the show’s musicians perched atop. The lighting is blazing, the music blaring. Costumes range from scanty to comically elaborate. Some of the lyrics are clear, others add up to amplified belting that becomes hard to decipher.

Creators with previously proven talent put the disappointing production together. Music and lyrics are by Stephen Trask and Peter Yanowitz, with a book by Trask, Yanowitz and Rick Elice. The direction is by Darko Tresnjak, with busy but repetitious choreography by Camille A. Brown and music direction by Darius Smith.

Looking back at my own experience, I went only as a press invitee to parties held at Studio 54, but can attest that in such situations the popular spot that earned renown in the late 1970s had an ambiance little like the joint garishly distilled in this production. Most authentic is a barrier created in one sequence with people standing behind it and anxious to be admitted as a sign of status and attractiveness.

Getting to the characters, there is Theo Stockman as co-owner Steve Rubell, whose real name is used. He along with his business partner Ian Schrager, defended by lawyer Roy Cohn, were eventually jailed in 1980 for tax fraud and other charges. (Rubell was known to be gay and he reportedly died of illness related to AIDS.) Stockman plays him so over-the-top gay that it borders on caricature.

The most sympathetic character is Sammy, mother of a young son, and a seriously troubled woman, portrayed by Samantha Marie Ware. She yearns to become a singing star, and Ware flashes a powerful voice unleashed in the show’s best numbers. Her close friend is hustler Chad (Peter LaPrade), who is also a failing painter named Rake.

There is Binky, brassily played by Chilina Kennedy, a publicist with an eye toward notoriety. Kennedy at least makes the most of her opportunities to sing and be comedic.

Will Connolly, called The Artist, is obviously meant to be Andy Warhol, who wanders through the show as a Studio 54 devotee, mostly understated and unconvincing, and eventually getting a chance to sing unimpressively. Add to the mix two hatcheck gals, one a trans-sexual, who fall in love with each other, played by Krystina Alabado and Lulu Fall, and other characters making up the misfired efforts to forge an involving drama.

The total effect of the rock opera is numbing. One waits in hope that it can somehow be pulled together convincingly, but it's as if one were left waiting outside the rope to get into the real Studio 54. At the Atlantic Theater Company’s Linda Gross Theater, 336 West 20th Street. Phone: 866-811-4111. Reviewed July 27, 2018.




Return to Previous Page