Review: BEAR GREASE at National Arts Centre
See the holiday-themed encore presentation on stage now through December 14th.
When you think of Grease, what do you envision? I’m willing to bet that it’s not a group of Indigenous teenagers (or thirty-somethings acting like teenagers) mooning over each other like lovesick puppies, with some angst thrown in. But why can’t it be?
Photo by Rémi Thériault.
The audience is presented with an alternate universe. Imagine if, instead of being colonized by Columbus in 1492, the Indigenous population defeated the settlers, emerging unharmed from the ashes of battle. How would the 1950s have looked? According to Crystle Lightning and Henry “Cloud” Andrade, the two halves of LightningCloud, and the creators of Bear Grease, it wouldn’t look all that different. We still have the tough guys in leather jackets and the boy-crazy girls in skirts and bobby socks, but there are some notable differences: the Pink Ladies become the Pink Aunties, the high school party is the pow-wow, and Sandy wears a colourful ribbon skirt. None of this differentiates Bear Grease from the original Grease’s overall tone or storyline, reinforcing the fact that Indigenous stories are just as compelling and entertaining as any other.
Bear Grease has some distinctly Canadian references too, like Kenickie’s character who has been renamed “Canuckie”. This version of the musical incorporates some elements in keeping with its holiday theme to make it distinct from its initial run at the National Arts Centre last year. The fake Christmas album advertised at the end of the show had the audience practically doubled over with laughter.
Sometimes, it seems like the show doesn’t know which direction it wants to go in. Bear Grease contains three distinct elements. First, it features a quasi mockumentary around the creators’ ambition to take their show to Broadway, showing behind-the-scenes footage of the cast, which is full of heart and humour. Then, there is a variety show segment, with song and dance numbers inspired by teen music shows of the 50s and 60s, like American Bandstand. Finally, the cast delves into their largely abridged version of Grease, which feels a bit rushed because of everything else going on. Each element works on its own, but combining them makes the show less cohesive, and the transitions are sometimes choppy. This was probably even more noticeable because of technical issues that plagued the production on opening night. Originally presented as a 40-minute show at the Edmonton Fringe Fesitval, Bear Grease still has a sort of fringe feel to it. That being said, it is easy to be forgiving because of the sincerity and joy that Bear Grease presents. The cast and creatives are clearly enjoying themselves, as well as the opportunity to present Indigenous culture to a broader audience, and their energy is infectious.
On top of that, performances are strong, with Melody McArthur and Bryce Morin, as Sandy and Danny, covering the show’s reimagined classics, like “Summer Nights”, and “Hopelessly Devoted” while making them their own. Rodney McLeod is an impressive breakdancer and sets a playful tone with “Bear Grease Lightning”. Tammy Rae’s Rezzo was channelling Stockard Channing in “Look at Me, I’m Sandra Dee”. As fun and familiar as these songs are, the best parts of the show are actually those that aren’t related to Grease. Native hip-hop numbers, with incredibly witty lyrics and modern beats, and traditional Indigenous dancing and drumming are incorporated into the show. Rae’s passionate performance of "Stand By Me", performed almost entirely in Cree, is utterly spine-tingling, especially thinking about it in the context of the injustices done to the thousands of Murdered and Missing Indigenous Women and the countless victims of Canada’s residential schools. These examples reflect the heart and soul of the production and that is what will take Bear Grease places. To be honest, the musical doesn’t actually need the Grease backdrop. Its familiarity and nostalgia may draw audiences in, but this show would be as just as good – and maybe even better - if it were a stand-alone Indigenous coming of age story.
After the show, Lightning shared the exciting news that Bear Grease will be making its off-Broadway debut next summer. With a little more work, there is no doubt in my mind that New York audiences will find this show as endearing, honest, and downright funny as its homegrown crowd does. With the exposure and experience they get from Bear Grease’s off-Broadway run, I cannot wait to see what LightningCloud does next.
If you want to see Bear Grease while its still just a cub, run, run, run, run, run over to the National Arts Centre before it slips away. On stage now through December 14th, click here for more information or click the link below to buy tickets.
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