Review: GREASE at Seacoast Repertory Theatre

Let’s face the obvious right away.

Grease is a lightweight in the realm of musical theater.

The show relies on a mere thread of a plot where bad-boy Danny Zuko has a summer romance with the ever-so-innocent Sandy Dumbrowski, only for complications to ensue when she unexpectedly transfers to Rydell High. Most folks know the story by heart from the movie of the same name. It’s a parade of stereotypical characters reminiscent of many high school days—the nerd, the car-loving greaser, the cheerleader, the proper principal, the loose lady, and a few other social misfits. But what the script lacks in depth, the Seacoast Repertory Theatre’s production more than makes up for with high-octane 1950s vocals and sheer infectious energy.

The dynamic splits the stage right down the middle: we see the T-Birds as a pack of chest-thumping guys ogling the girls like trophies, contrasted instantly with the Pink Ladies—a circle of girls swooning, sighing, and drooling over the local bad boys. It accurately depicts an era of hyper-exaggerated gender roles and the battle of the sexes. For some, this dynamic will feel wonderfully nostalgic, even if others might find it a bit dated by modern standards.

As the central sweethearts, Sam Robert Rogers and Mary Mahoney certainly look the parts of Zuko and Sandy to a tee. Rogers plays Danny with a confident, leather-jacketed swagger, demonstrating impressive vocal control and charisma. He does right by "Summer Nights," the lonely ballad "Sandy," and taking the lead on "We Go Together." Mahoney is wonderfully youthful and naive as Sandy, hitting every single note with crystal clarity, particularly on her showcase number, "Hopelessly Devoted to You." Her transformation from good girl to vixen is a highlight of the evening, though I do wish it had been staged with a bit more dramatic flair rather than simply having her walk on with her bevy of girlfriends. Shouldn’t there be a grand entrance from the top of the stairs appearing in a full spotlight? It would make her total body makeover much more spectacular.

Tia Marie Apicella, a Seacoast favorite, is an absolute standout as the sassy, cynical Betty Rizzo. She brings a sharp, sexy edge to the Pink Ladies and commands the stage with a beautifully layered rendition of "There Are Worse Things I Could Do."

On the T-Birds' side of the aisle, Andrew Kowalczewski gives a spirited performance as Kenickie during "Greased Lightnin'," his personal vision of what his junk heap of a car might become. Meanwhile, Max Cavanaugh’s Doody does a fabulous job handling his solo on "Those Magic Changes," and his voice later merges beautifully with Zeke Solis (Roger) on a fun, tight performance of "Rock 'N' Roll Party Queen." Solis also provides a memorable bit of comedy in "Mooning"—played tastefully without the actual mooning of the audience that takes place in so many other productions.

Maggie Cavanaugh, Maddie Anna, and Kristen Gilhooly are appropriately cute and bubbly as the remainder of the Pink Ladies. And it wouldn’t be a real high school without Megan Paluzzi as the obnoxious cheerleader, Patty Simcox, and Sam McLaughlin as Eugene, the epitome of nerdiness.

The adult characters shine with plenty of comic flair. Dru Daniels, who seems to own the prim and proper older roles at Seacoast, tackles the rigid school principal, Miss Lynch, with just the right amount of panache. Kevin Lundy’s Vince Fontaine is an entertaining addition, though I wish he were a bit more self-absorbed, suave, and full of himself. That said, Myles Luongo-Clay steps up magnificently as Teen Angel, delivering a dazzling, show-stopping performance of "Beauty School Dropout" alongside the female ensemble as his backup group.

The ensemble numbers are crisp, clean, and move remarkably well—a hallmark of Seacoast productions—consistently filling out the cafeteria and school dance scenes with boundless energy. Their tight vocal harmonies in "Grease is the Word" and the show-closing "We Go Together" are true treasures of the musical, and "Born to Hand Jive" stands out as the most vibrant number of the evening.

The set design by Jason Lahue is clever, seamlessly turning high school lockers into the bedroom for the Pink Ladies' sleepover, or transforming stair platforms into the imagined hot rod and the car at the drive-in. Alyssa Dumas does double duty as both choreographer and director with great success on both fronts. The dance numbers are straight out of the 1950s, complete with hoop skirts for the ladies and ducktails on the guys, backed by fine work on lighting and costuming. Under the music direction of Amanda Morgan, the live band keeps the rock-and-roll rhythms driving at a frantic, foot-tapping pace.

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