Seen in a glossy, glamorous, gleeful new production, Grease purrs, shakes, and shimmies all over again, returning to make freshly minted stars of a whole new generation of highly talented performers.
Although it must be so tempting to just throw Grease on stage and watch the takings roll in, this season really is an entirely new production and the results are nothing short of dazzling. Much as the iconic 1978 movie is phenomenally popular, the stage musical is not necessarily the greatest and yet it reaches new heights in this boldly designed, impeccably directed outing.
Seizing upon the opportunity to helm a new production, director Luke Joslin oversees a fully realised, cleverly conceived staging in which the integrated combination of Eric Giancola’s inventive choreography, James Browne’s vivid costumes and ingenious sets, and Trudy Dalgleish’s spectacular lighting design come together to terrific effect. The overall result bears little resemblance to the 1950s but when it all looks this good that is a small quibble. Grease is sometimes presented with a simple single set, whereas this production is very well served by revolving bleachers and dynamic abstract blocks that conjure a multitude of locations.
Gorgeous though they are, the costumes and wigs almost tend toward cartoonish, and yet Joslin ensures that there are living, breathing humans in the outfits, establishing each of the T-Birds and Pink Ladies with distinction and contributing abundant intricate details to life at Rydell High. The breathless pace sweeps the audience along in rapt attention, and it is hard to recall a performance of Grease that was so genuinely funny.
Blessed with triple threats throughout the full ensemble and young lead cast, Giancola fills the multi-level bleachers with tightly synchronised, delightfully entertaining dance from big numbers like “Greased Lightnin’” right through to small numbers like “Freddy, My Love.” Choreography reaches it zenith for “Born To Hand Jive,” in which Cristina D’Agostino almost cha-cha’s away with the show in her scintillating cameo as Cha Cha DiGregorio.
All this dance would be nothing without the much-loved music of Jim Jacobs and Warren Casey. Serving as both music supervisor and music director, Dave Skelton leads a rocking band, also delivering pristine vocals from the cast.
Pre-publicity has shone the spotlight on the three adult guest stars. Patti Newton sparkles merrily as dear Miss Lynch. Jay Laga’aia plays DJ Vince Fontaine with a wink (in the stage version the character is meant to be 19), benefiting from the excision of Johnny Casino by being given the lively number “Born To Hand Jive.” Marcia Hines is luxury casting as Teen Angel, although the “gospel” ending of “Beauty School Dropout” falls a little flat.
Joseph Spanti has charm to spare as Danny Zuko, achieving the added feat of actually looking like a high school senior. Almost too sweet to bring out Danny’s macho swagger, Spanti nonetheless makes a strong impression as a leading man. Act two favourite “Sandy” is in capable hands with Spanti’s effortless vocals.
Annelise Hall effectively captures the blonde innocence of new girl Sandy Dumbrowski. Saddled with clunky movement during “Hopelessly Devoted to You,” Hall still sings the beloved song in lovely style.
While Danny and Sandy are the best known characters, there is much interest and depth in the range of supporting leads, headed by Mackenzie Dunn as Betty Rizzo and Keanu Gonzalez as Kenickie. Grounding the story with a serious scene after much frivolity, Dunn launches into 11 o’clock number “There Are Worse Things I Could Do” to powerhouse effect. A highly charismatic stage presence, Gonzalez leaves the audience wanting more of devilish greaser Kenickie.
Fast rising star Brianna Bishop shines again as self-satisfied teen Marty, nailing every laugh and leaving a memorable impression with early number “Freddy, My Love.”
Tom Davis delights as Doody, having the audience in his palm for act one charm song “Those Magic Changes.” Wearing a beret as Frenchy, Catty Hamilton makes the well-known role her own, and enjoys sweet chemistry with Davis.
Andy Seymour and Caitlin Spears are standout crowd pleasers as Roger and Jan, their blossoming romance played with authentic affection. Seymour gives a cheeky rendition of “Mooning,” and Spears nails every gentle laugh in “It’s Raining on Prom Night.”
Coming ten years after the previous Australian tour, there are plenty of past generations to take along new generations to enjoy Grease. Fans who think they may have seen the musical enough times are strongly encouraged to partake of one more viewing.
Grease plays at Her Majesty’s Theatre, Melbourne until 10 March 2024. For tickets, click here.
Grease plays at Capitol Theatre, Sydney from 24 March 2024. For tickets, click here.
Grease plays at Crown Theatre, Perth from 30 June 2024. For tickets, click here.
Photos: Jeff Busby