Grease is the Word -
The Lyric Theatre, Sydney, 17 October -
When the first production of the musical then entitled Grease was staged in Australia by Harry Miller, in 1972, I remember as a young dancer I auditioned for it, and but, on finding out that it was all about “teenage sex”, I chose not to continue – we were all so hung up about that “stuff” then - I was so prudish…
John Frost’s production of the new West End version of Grease is the Word is wonderful. This musical has been produced in Australia previously, firstly in 1972 by Harry Miller at the Metro Theatre in Melbourne (without me), then again in 1991 by John Frost at the Footbridge Theatre in Sydney. Frost has also presented two arena performances which broke attendance records. This musical has proved to be very popular here, along with the film starring Olivia Newton John and John Travolta.
This production is as shiny as a new pin. It’s directed by David Gilmore, with original staging and choreography by Arlene Phillips of the USA. Charlotte Bull recreates the dancing in this production.
Musical direction is by Stephen Amos, with the band perched above and behind the action, playing the wonderful funky songs the audience loves.
The lighting, designed by Mark Henderson is brilliant, and funny, as are the sets and props - especially the amazing “hotrod” for the “Greased Lightnin’” number with its own transformation for the encore. The costumes, originally designed by Adriane Neofitou, and realised in Australia by Billy Roche are bright, bold and the girls’ skirts satisfyingly swishy.
This production of Grease is the Word exploded into my consciousness from minute the lights went down. The “audience participation” led by Val Lehman as Miss Lynch the headmistress, got the audience off to a flying start, then the songs and dances kept on coming, with unrelenting energy, fabulous singing, and knock-out precision dancing. Some of the dancing was mesmerizing, with such accuracy and clarity that one had to cheer from about half way through (along with the whole audience).
ALL the singing was marvelous, under the musical supervisor Peter Casey. Many of the cast, although young, have extensive experience in musical theatre and it really showed as everyone on the stage sang AND DANCED their socks off.
One of my favourite numbers was “Greased Lightnin’“, sung and danced by Stephen Mahy, Rob Mills and the boys in their compulsory leather jackets and ‘high’ hair – clambering over that amazing hotrod. “Born to Hand Jive” was a tour de force, with every movement, in every moveable limb and joint danced whilst they are also singing - one of the best dancing (and singing) numbers I have seen in a long time. The heartrending solo “There are Worse Things I could do”, by Lucy Maunder as Rizzo, provided a great change of pace.
The entire cast gave their audience a marvelous evening in the theatre, and the two leading roles of Danny – Rob Mills, and Sandy - Gretel Scarlett, were everything we all wanted them to be, especially Sandy’s final transformation.
Of the three “Guest Stars” – Bert Newtown, Anthony Gallea and Todd McKenney, the silver wigged, silver suited Todd, won the battle, playing the outrageous role of Teen Angel and almost stealing the show. In fact it was a Todd McKenney “segment” paying homage to his roles as a judge on Dancing with the Stars, and his Peter Allen role in the The Boy from Oz.
I enjoyed it all, right down to the long, choreographed curtain calls - and the “play out” by the hot orchestra, perched above the action, keeping much of the audience in the theatre until the "play out" had finished.
Having watched this production as an old(er) woman I realise that it deals very well with ‘teenage sex ‘ stuff’ - with common sense and so much humour, ensuring that this is a marvelous experience for the whole family. So, mothers, fathers, grandmas, grandpas, aunts and uncles – take all your children, friends, and relatives to see Grease. You will all have a GREAT TIME.
- Robina Beard OAM