REVIEW: The All-Australian Production Of GREASE, THE MUSICAL Is A Rocking Piece Of Theatre That Will Satisfy The Movie Fans While Honoring The 1971 Original.

Tuesday 2nd April 2024, 7pm, Capitol Theatre Sydney

GREASE, THE MUSICAL is given a new treatment, satisfying audiences looking for a toe tapping night of nostalgia while honoring the early stage productions and liberally referencing the famous 1978 movie adaptation.  Director Luke Joslin leads an all-Australian production to bring Jim Jacobs and Warren Casey’s (both Book, Music and Lyrics) iconic story of 1950’s Middle America teenagers to life with a strong cast of up-and-coming performers alongside three veterans including the irrepressible Marcia Hines as Teen Angel.

For those that may have missed the movie starring John Travolta and Olivia Newton-John, or the many stage productions over the years, GREASE, THE MUSICAL looks at the lives of 10 high school kids from the fictional Rydell High, set somewhere in Chicago in the 1958-1959 school year.  While the students of Rydell High, born towards the end of WWII, grew up as teenagers in a world of more freedom and opportunity, there are some things that are eternal when it comes to human behaviors, from the need to set their own identity and break free from the expectations of society; the need to belong to something, be it religion, social groups or another person; and the isolating othering of people that are different, whether they be from elsewhere to how they choose to live their lives or how they look. 

Sandy Dumbrowski (Annelise Hall) is the new girl in town, adjusted to be from Australia following the movie, and she’s the quintessential good girl in pastels and poodle skirts (although designer James Browne did not include any applique on his swing skirts).  Over the summer holidays, before starting at Rydell, she had a romance with a boy that hadn’t been all that honest about his age or education leading to an awkward reunion when it’s discovered that Rydell’s Casanova Danny Zuko (Joseph Spanti) is the mystery man.  Unfortunately, the strait-laced Sandy doesn’t fit with the leather clad Greaser’s image and as much as her new friend Frenchy (Catty Hamilton) would like her to be part of her ‘Gang’ of “Pink Ladies”, territorial and bitchy leader Rizzo (Mackenzie Dunn) doesn’t agree to formal inclusion, leaving the newcomer stuck between the world of geeks and squares and the ‘cool’ kids.

For this production, Joslin has opted to use the 1993 West End Revival song sequence which removed the earlier references to a class reunion, keeping the work more relatable for those familiar with the movie.  He does however retain the ‘edge’ that Sandy was originally written with, ensuring that she is seen as not so nice and obliging but capable of being catty to cheerleader nerd Patty Simcox (Mikayla Williams) and more like the snipping Rizzo than she’d like people to believe.  Additionally, Joslin ensures that the petty crime and gang violence that is downplayed in the movie is also clear, adding more clarity to the society that the Greasers are part of.    

Joslin incorporates the significant elements of a 1950’s teen’s world in the inclusion of radio broadcasts, television advertisements and cinema screen footage using projections onto sheer screens and video animations on a large circular screen that serves as a cartoon moon and disco ball. In addition to the technology employed, the set design is kept relatively clean and simple by designer James Browne (Set, Costumes and Wigs).  Illuminated flats that resemble large institutional tiles flank the space are maneuvered to change the scenes while the stage is dominated by two pieces that come together as bleachers but can be reconfigured to provide other backdrops. 

Browne injects the majority of visual interest through the costuming which is generally in keeping with the era with a nod to the modern trend of ‘Rockabilly’ reinterpretation of the retro styles which include more visible corsetry designs.  The dream sequences of the transformation of Grease Lightning and Frenchy’s visit from Teen Angel and her Beauty School backup are presented with stunning clarity though the design for the cheerleaders feels far too modern with no real attempt to honor the vintage cheerleaders. 

In the lead role of Sandy, Annelise Hall delivers a strong performance, dramatically and vocally and Joslin has ensured that Hall keeps Sandy’s background clear with a constant strong Australian accent, navigating the challenges of songs originally written with a more American pronunciation. Hall balances the good girl image with an undertone of grittiness that makes the audience realize that while she may not be as free as Rizzo and the Pink Ladies, there is an element of the not so Christian about her.  Hall ensures that she makes the role her own, resisting the temptation to try to replicate the movie memories, further reinforcing that Sandy was a much more complex character than Hollywood wanted the audience to see.

As Sandy’s love interest, Joseph Spanti presents Danny with a more restrained expression which does make it harder to believe how he has become the local lothario but still conveying that he’s seduced by the idea of maintaining the image of how the T-Birds expect him to behave.  Spanti sets Danny as more a product of the society around him, rather than his own creation as he blithely gets manipulated by those around him as they distract him from his goal of reforming to reunite with Sandy. 

The supporting gangs of Pink Ladies and T-Birds have similar character definition. Mackenzie Dunn, Brianna Bishop, Catty Hamilton and Caitlin Spears, as Rizzo, Marty, Frenchy and Jan respectively, all ensuring that the Pink Ladies are seen as bold strong women prepared to take control of their lives.  The rest of the T-Bird gang, presented by Keanu Gonzales, Tom Davis, Andy Seymour and Harry Targett, as Kenickie, Doody, Roger and Sonny respectively, are more two dimensional than their female counterparts, potentially to draw focus to the female stories but also to reinforce that teenage boys can be somewhat basic in their needs and desires.

Smaller roles of Patty (Lucy Fraser), Eugene (Gareth Isaac), Cha Cha (Cristina D’Agostino), Miss Lynch (Patti Newton), and Vince Fontaine (Jay Laga’aia) are presented are more caricatures than having any significant depth leaving the performances feel forced which is surprising given the production has already played a Melbourne season.  Marcia Hines delivery of Teen Angel however is delightfully nuanced as she balances the over-the-top nature of the character with a cheekiness that sparkles.  She connects with the text of Beauty School Dropout to effortlessly ensure the piece connects with the plot and isn’t simply a ‘stand and deliver’ song backing up the drama. 

An uplifting and entertaining evening of high energy theatre, GREASE, THE MUSICAL is a bright piece of nostalgia with a touch of the gritty undertone as it reinforces that many aspects of the teen experience remains constant half a century and half a world away from the show’s origins in 1971 Chicago.  Peer pressure still exists, judgement and prejudice against the unknown remains, there will always be something that is considered taboo and young love will always be fraught. 

Grease the Musical | Australia (greasemusical.com.au)

(Photos: Jeff Busby)

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