Review: At Bill Hanney's North Shore Music Theatre, GREASE Is the Word and the Show to See

When “Grease” premiered in 1971, the Jim Jacobs and Warren Casey musical about working-class teenagers at a Midwestern high school in the late 1950s was a gritty satire, first performed at a Chicago nightclub.

Its rougher edges remained when it moved off-Broadway in early 1972 and then to Broadway’s Broadhurst Theatre later that same year, with Adrienne Barbeau as Rizzo and Barry Bostwick as Danny. Over its eight-year run, that production would earn seven Tony Award nominations and welcome numerous now-famous replacements to its cast, including Jeff Conaway, Peter Gallagher, Patrick Swayze, and Treat Williams as Danny, John Travolta as Doody, and Richard Gere as Sonny.

During its long run in New York, Hollywood took notice and “Grease” was made into a 1978 feature film starring John Travolta as Danny and Olivia Newton-John as Sandy. Many of the stage version’s barbed points about the 1950s, however, were subsumed by the blockbuster movie’s celebration of the era.

The first-rate production of “Grease” now at Bill Hanney’s North Shore Music Theatre in Beverly through August 24 deftly blends the stage version’s edge and period authenticity with the film’s glossy sparkle for an evening of terrific music and high-energy fun.

Director and choreographer Kevin P. Hill clearly understands the value of perfect pacing, especially with a show already so familiar to much of the audience. Hill makes sure that not a single moment lags while ensuring that his talented company of performers winningly delivers every plot point and memorable musical number. Hill wrings every ounce of emotion and exuberance out of the highly entertaining “Born to Hand-Jive” and more.

Leading the cast as besotted T-Bird and errant track star Danny Zuko and Pink Lady-in-training Sandy Dumbrowski are Nick Cortazzo and Caroline Siegrist, whose fine voices enhance act one’s “Summer Nights” and add sizzle to act two’s “You’re the One That I Want.” Siegrist also delivers a heartfelt rendering of “Hopelessly Devoted to You,” which did not appear in early stage versions but was added to the feature film for Olivia Newton-John. Written by John Farrar, the song became a hit single for Newton-John, who took it to number three on the Billboard Hot 100 in 1978.

Hank Santos is spot-on as Kenickie – the bad boy smitten with both the jalopy he musically salutes in “Greased Lightnin’” and his gum-snapping musical moll Betty Rizzo, well played by Bailey Reese Greemon, who scores with the sarcastic “Look at Me, I’m Sandra Dee.”

As Doody, Jayson Brown is charming on “Those Magic Changes,” while Rosie Granito, as aptly named high stepper Cha Cha DiGregorio, and NSMT regular Alaina Mills, as cheerleader Patty Simcox, add spirit and range to the mix.

The characters of Jan and Roger can sometimes get lost in the mix, but not here thanks to terrific turns by Sunayna Smith and Jeremiah Garcia, who is a hoot throughout. The pair make the often-overshadowed “Mooning” an act-one delight.

Andrew Tufano brings pizzazz to his portrayal of Sonny Latierri, while Avionce Hoyles pops as Teen Angel in act two’s “Beauty School Dropout,” which features the delightfully daffy Lily Kaufmann as the sweet-spirited Frenchy.

Kathy St. George, recipient of the 2025 Elliot Norton Prize for Sustained Excellence from the Boston Theater Critics Association, is featured here as Rydell High English teacher and resident disciplinarian Miss Lynch. The role, repurposed as Principal McGhee for Eve Arden in the 1978 film adaptation, would be little more than a cameo in many performers’ hands, but St. George runs, and dances, away with it in Beverly, stealing every scene she is in. Watch what she brings to the all-company act-two opener “Shakin’ at the High School Hop” and you’ll see why Broadway veteran St. George has long been a local theater favorite.

Rounding out the cast in small roles, and in the ensemble, are Tre’ Booker, Ellie Chancellor, Grace Conrad, Chace Graham, Ashton Lambert, Mitchell Lewis, Maclain Rhine, Kassi McMillan, Chris Stephens, Elana Valastro and Brittany Zeinstra.

The excellent scenic and lighting design by Jack Mehler incorporates everything from jukebox-inspired signage to a car that is actually driven on, and off, stage – not seen in many shows, even on Broadway. Alex Berg’s fine sound design allows every lyric to be heard and every note played by music director Milton Granger and his crackerjack band to be fully enjoyed.

With Broadway revivals in 1994 – when Rosie O’Donnell top-lined as Rizzo and the production had a pre-Broadway run at Boston’s Colonial Theatre – and 2007, multiple tours, and 2016’s highly rated broadcast of “Grease Live!” on Fox-TV, “Grease” only continues to add to its legion of loyal fans. In Beverly at the show’s recent press opening, eager audience members of all ages came garbed in poodle skirts and their very own Pink Lady satin jackets. As shoulders swayed and moved to the music, it was clear that “Grease” is still the word.