Grease - Cast 2 - 5 out of 5 stars
Pelican Productions
TICKETS: End of Season
Whenever somebody discusses Grease as a potential musical to direct or perform in, the conversation quickly turns to the language, attitudes and behaviours reflected in the story, as well as the time in which it was written.
Director Vanessa Lee Shirley has successfully reimagined
this production through an exploratory lens, updating its messaging to better
reflect today’s standards around respect, consent, identity and relationships.
There are many themes that remain relevant today: uncertainty, peer pressure,
fear of judgement, navigating changing friendships, romance, reputation and the
pressure to become the person others expect you to be. Grease remains a
story about teenagers trying to understand who they are and where they belong –
suddenly, Grease seems as relevant as it was when it premiered in 1971.
As audience members enter the auditorium, they are met with
a white hanging sheet and a lone stool positioned downstage centre. With little
opportunity to glimpse the hidden set, the musical opens with “Grease Is the
Word” being sung clearly behind the screen while the leads have their
yearbook photographs taken – an intuitive way to introduce the main characters
before the action begins.
Music Director Ben Francis has done a brilliant job bringing
out the best in his performers, ensuring every vocal performance is clear and
confident. He also leads the orchestra in a consistently tight performance,
with the musicians looking sharp atop the set.
Choreographer Nic Collins ensures the anticipated
choreography in “Greased Lightning”, “Born to Hand-Jive” and “You’re
the One That I Want” meets expectations, while creating original dance
numbers for other songs that allow the cast room to demonstrate their creative
freedom. Numerous choreographic highlights occur during scene changes where
movement was provided to accompany the transition music.
Alek Kudra as Danny and Ali Burns as Sandy, creates a relationship
that provides the emotional framework for the evening. Their story is not
simply about whether the two of them will end up together, but about how much
of themselves they are willing to reveal and how much they are prepared to
change to be accepted by the other. Kudra brings the necessary charm and
confidence to Danny, while Burns gives Sandy a sincerity and warmth that make
her journey easy to invest in.
Their vocal highlights are evident not only in “Summer
Nights”, but also in their solos: “It’s Raining on Prom Night”
alongside Annabelle Fleming, “Hopelessly Devoted to You”, “Sandy”
and “Look at Me, I’m Sandra Dee (Reprise)”. Their joint performance in “You’re
the One That I Want” is an audience highlight.
Caitlin Laventure delivers a compelling performance as
Rizzo. While Rizzo is treated as the tough, sarcastic outsider, Laventure’s
approach allows her vulnerability to emerge beneath the bravado. Rizzo’s
sharpness is understood as a form of protection, and Laventure brings an
emotional depth to the role that gives “There Are Worse Things I Could Do”
its full power and weight.
Emma Pool as the flirtatious Marty, Kenya Styles as the
food-loving Jan and Lucy Stirling as the pink-haired Frenchy bring distinctive
personalities to the Pink Ladies. Together with Laventure, they create a
friendship group that feels energetic and recognisable, full of affection,
teasing, competition and occasional tension. Pool’s “Freddy My Love” is
an unexpected Act One highlight, with solid vocal work integrated into her
characterisation.
Henry Green brings a strong presence to Kenickie, the
unofficial leader of the Burger Palace Boys – once known as the T-Birds – when
Danny is absent. He leads the reveal of “Greased Lightning” with plenty
of energy.
Connor Foreman’s Roger is aptly the mooning king. Will
Fleming’s Doody serenades the audience early with “Those Magic Changes”,
while Freddie Windle’s Sonny simply wants a friend, as quickly established in “Summer
Nights”. Individually, Foreman, Fleming and Windle bring individuality to
their roles; collectively, they provide plenty of swagger and youthful energy.
The supporting cast is equally important to the production’s
rhythm. Zara Windle’s Patty and Max Green’s Eugene add plenty of comic energy,
while Kate Wooding’s Miss Lynch embraces the deliciously exasperated authority
of the schoolteacher. Harry Armstrong makes the most of Vince Fontaine’s
larger-than-life presence, and Paige Crooks brings both the sparkle and danger
to Cha Cha.
The appearance of The 60 Four as Teen Angel is a
genuine highlight. Their vocal harmonies are polished, effortless and
wonderfully entertaining, and “Beauty School Dropout” becomes the kind
of moment that feels designed to send the audience home smiling. I am now
looking forward to their blind audition on The Voice on Monday night!
The production’s 51 performers, including a 16-member dance
troupe led by Dance Captain Caitlin Bentley, ensure the stage is rarely still.
The ensemble contributes significantly to the atmosphere, capturing the
movement, noise and social energy of a school community where everybody seems
to be watching everybody else. Their work gives the production a strong sense
of scale, while allowing the smaller relationships to remain visible.
The combination of the sheer number of performers, the
balcony-style set housing “Greased Lightning” until its unveiling, and the
orchestra led by Ben Francis from the balcony fills the Arts Theatre stage. It
also means that much of the action takes place further forward on the stage.
The lighting design and execution are impeccable, bringing
the disco era to life. The sound design and execution are clear and crisp,
including the sound effects. Projections on the cyc ranging from still images
to short videos, further enhancing the world and the experience.
Pelican Productions’ Grease is bright, energetic and
full of affection, while still recognising that affection does not have to mean
unquestioning acceptance. Beneath the leather jackets, poodle skirts, big dance
numbers and instantly recognisable songs is a story about young people
searching for connection and trying to work out who they want to become.
We all know what it is to want to belong. We all know the
temptation to become somebody else to be loved. And we all know that growing up
rarely happens in a straight line. With this quality, I’m looking forward to The
Little Mermaid Jr!
- Andrew Broadbent
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