Review: GREASE at El Portal Theatre

GREASE is as American as, say, the stars and stripes. A phenomenon when launched on Broadway in 1972 after a trial run in Chicago, it spawned two films, a TV adaptation, and successful revivals on both the Great White Way and the West End. The film was a monster success, grossing almost $400 million, its soundtrack selling more than 30 million copies, and launching four of its singles into the Top 5 of the Billboard Hot 100. Its impact is still being felt generations later. Grease is not just the word, it is a THING.

A thing that Valley Opera and Performing Arts has brought to North Hollywood’s El Portal Theatre, in its 100th season. Taking place in northwest Chicago, it focuses on a senior class of high schoolers — mainly two rough and tumble groups, greasers and the Pink Ladies — experiencing first love, first heartbreak, and the growing pains of coming into their own, mainly Danny (Tommy Glodo) and the sweet girl next door he met over the summer who is new to school, Sandy (Jennifer Kersey).

Directed by Dylan F. Thomas, the show has all the songs you remember and love, from both the Broadway run and the film. With a double cast — the Casino and Angel casts — there is a lot of talent getting a shot to shine. The problem is that, even with absorbing some of the bright spots that were created for the Randal Kleiser film, the stage show isn't as focused as it needs to be. The film smartly made the A story (Danny and Sandy trying to figure out how to be together) more pronounced. While the stage show gives some of the supporting characters their own spots to shine, it ends up diluting the main romance, losing momentum for the musical overall.

The kids give it their all, and the songs are undeniable, but there’s a hush that permeates the production. The songs and the dance numbers are muted, lackadaisical, low energy. Director Thomas and choreographer Gary Roberts have designed some creative staging, but it never quite takes off, and some if it is just plain awkward. For example, when Sandy is singing the Oscar-nominated “Hopelessly Devoted to You,” 24 or so other performers stand frozen in shadow for the entire song.

Kersey perfectly embodies Sandy’s upbeat sunniness and Glodo is a powerful singer. They’re given some solid support by Zach MacDonald as Doody (a born crooner), Rachel Wilson as Rizzo, who has the perfect blend of tart smugness, and Teen Angel Yaniv Snir makes it seem effortless, but too much of the rest seems perfunctory.

While the set design by Suzanne Scott Wakefield isn’t particularly beautiful, it is functional, with images projected on screen at the back by video designer Emilia Haddad so the stage can be dressed as settings as varied as a school courtyard and a teen girls’ room. The sound for the vocals was tinny, but conductor Lindsay Aldana’s VOPA Vinyl Band sounds fantastic.

In the end, if you love GREASE, you may not mind the grumbles and grouses that plagued the production for me. All the songs you love are there, and sometimes that’s enough. The 1950s throwback to a seemingly more innocent time is certainly a palliative to the horrors of today.

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