Review: GREASE at Fulton Theatre

Fulton Theatre sets the wayback machine to 1959 with their latest production of Grease on the mainstage. Most audience members have high expectations of this musical based on the iconic film and soundtrack. The Fulton delivers with mixed results.

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First, the good. Director, Mark Martino cast a large number of young, energetic first-timers to the Lancaster stage. These actors are not a bunch of thirty-year olds masquerading as teenagers (I’m looking at YOU, Stockard Channing!) Instead, this talented bunch of singers and dancers are the real deal. It makes the show more authentic and believable.

Nick Cortazzo stars as Danny Zuko.  His Danny is quite likable and wears his heart on his sleeve more so than most. I appreciate the vulnerability, and it allows us to get a better appreciation for what Sandy actually sees in this guy.

Taylor Quick is fine as Sandy, but doesn’t especially stand out, particularly when compared to the more interesting Pink Ladies that she hangs out with.

The lanky Pascal Pastana does a good job as Kenickie.  His work with the Greased Lightening number was especially athletic.  Betty Rizzo, played by Gianna Yanelli, was most similar to her film counterpart in both looks and attitude.  I am fine with this.  If it’s not broke, don’t fix it.

Other stand-out cast members includes the cute Zoe Fox as Jan, the enthusiastic Jalon Matthews as Roger, and the original Darius Harper as the Teen Angel.

I really appreciated the energy and enthusiasm as the action continued to spill out into the audience and beyond.  There were characters running all around the theater, dancing in the aisles, and popping up in the various balconies. The immediacy and electricity was a lot of fun, especially for those of us with a seat on the side.

Kudos to Beth Dunkelberger and company with their bright, interesting, and eclectic costumes. They made extensive choices beyond the typical denim and leather to produce a more diverse collection of colors and fabrics for the stage.

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There were also some aspects of the show that were lacking or even confusing.  Some scenes seemed disjointed or out of place (e.g., the playground scene). Some songs had little relevancy to the plot or were sung out of context. (e.g., There Are Worse Things I Can Do). While the Fulton has no control over the version of the script they are given, such challenges sometimes make the storytelling process harder to follow.

Speaking of the version of the script, they have now eliminated most of the profanity and sexually suggestive remarks. Greased Lightening is now referred to as a dragon wagon (what does that even mean?)  The running joke about a character mooning people is a lot less funny when people react to his shiny boxers rather than his bare butt.  Over the years, Grease has become a lot less “Danny” and a lot more “Sandy”.

One disappointing aspect that Fulton did have control over is the set. The stage consisted of various platforms and sets of stairs.  There was also a prominent backdrop of vinyl records that looked very basic. Perhaps I am spoiled by Fulton’s stagecraft, but I felt that the Grease set was not up to their usual professional standards.

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