Grease

Many thanks to Centre Stage Productions for inviting me to see their production of the notorious 'Grease' at the Gaiety Theatre, Douglas, Isle of Man. It would be very fair to say that this production was of the highest of standards across all of the performance and technical disciplines and everyone involved in this production should be extremely proud of themselves.

This production tells the story of a group of school kids at Rydell High School in their final year. I'm sure everyone reading this will be very familiar with the narrative so that's as far as the plot is going to be described in this review. When watching a show that is as well known as this, it is difficult to remain objective, as we all know and love the original characters and storyline so well.

What I must note foremost is the creative team did an exceptional job of not replicating the film onstage, instead, taking key character traits and working with the cast to encompass these within their characters but giving freedom for unique interpretations to materialise on the stage. Although it was within the film, the creative team also picked up and amplified a theme of fantasy versus reality, creating some wonderfully special moments on stage. I shall be deliberating this further within the review.

I am not sure where the lines of ownership fall between the direction, musical direction and choreography, as all moments were seamlessly tied together within the disciplines, so it would feel unfair to not assess them as a collective. The creative team consisted of Bethany Magee as Director, Breeshey Crookall as Choreographer, David Holland as Musical Director and Joe Hillard as Creative Assistant.

This cohesion was presented from the outset. As the music started for the overture, the audience were presented with a fusion of pedestrianised staging suggesting the highschool setting for the show, highly detailed and technical choreography cutting across this action with highlighted tableaux created to establish the iconic T-Birds and Pink Ladies. Another notable example of this fusion of the disciplines was the characterisation embedded throughout the entire cast. There was fully invested commitment to physicality throughout the cast, each character unique, which not only animated the entire production, but enabled these characters to be continued into the songs and choreography, so that each character looked individual, even when delivering ensemble unison dance numbers. The choreography was exceptional throughout. Highlighly detailed, technical and was excellently delivered by an impeccable cast, this was drilled to the level of minute placements and eye-line. As noted before, the musical numbers in the show were what transposed the action from reality to fantasy. This was executed particularly well within the choreography for these fantasy moments. In the song ‘Greased Lighting’, the number started in the garage with a very basic looking car Kenickie had the idea of renovating, which he describes within the lyrics. This was a really high energy number. Towards the end of the song, there were many focal points happening simultaneously onstage, such as lifts, tricks and fouette turns. While the audience were captivated by this spectacle, the crew, dressed in the same overalls as the cast, converted the car to a very shiny sports car in front of our eyes. For me, this was only revealed when the deconstruction happened at the bottom of the number, converting the stage back to its former reality version. Other points to note about the fantasy versus reality concept within the use of choreography was the subtle use of transition of the principle character from stock ensemble in unison to retaining their individual character traits for a few seconds then returning to their unison. At times this was magical as the vision appeared to be coming from the vision of the character in the number. Another great example of how this technique was applied was during ‘Beauty School Drop Out’ whereby the characteristics were retained by the principle characters undertaking the choreography, but at certain points, these characters were exaggerated to almost caricature representations, such as Eugine becoming giddy and excitable. My final note on the creatives is the powerful use of acting through song which was delivered throughout the show. 

The set, lighting, sound, costumes, props and hair were also of the highest standards. The set, which was hired from Scenic Projects, was of professional standard, utilising spiral staircases either side of a scaffolded box, with the iconic branding displayed at height at centre. The scaffolding opened to enable the car to come through and then other trucks, decors and the iconic steps for Summer Nights were seamlessly knitted into the action. Sound was spot on, perfect balance, blend and enhancements applied to the right moments in the piece. Lighting was also outstanding, this was used well to amplify the fantasy versus reality concept, most notably in 'Beauty School Drop Out' which began behind a gauze and Teen Angel's disco ball blazer was flooded in such a way to project dazzling orbs onto the gauze. I also loved the strip lighting up the sides of the flats and across the scaffolded structure. Costumes were for the most part hired from Thespis Theatrical Costume Limited and were managed and maintained, with the additional items required for the show designed and created by Nora Lean. All of the costumes were true to the film, characters and themes of the production.

All cast members' performances were of the highest standard across dance, drama and singing. There was not one second where anybody was not fully committed to their moment and character. All dance numbers were executed with articulation and precision and there was nothing but the highest quality vocals being created. What impressed me the most was the level of detail within the characterisation of all cast members, transcending through to their physicality. I wish I could call out every cast member by name and say how stunning they were, but I am limited on space and so my key call outs are below. Well done to everyone involved in any way in this production.

Sandy was played by Leah Carter who delivered a version of this character that I am sure the late Olivia Newton-John would have been proud of. She delivered every essence of the character effortlessly and within each song she told each lyric with full intent and commitment, this truly was an exceptional performance, with powerful acting throughout.

Danny was played by Jack Divers. He delivered his performance with all the charm and wit that would be expected from this iconic role. Jack's vocal ability was phenomenal and took the character through a good journey, notably in 'Sandy' showing a tender side to the character.

Rizzo was played by Jordan McCormack who delivered this role with true gravitas, I was literally drawn to her performance throughout the show. She took the brass of the well known character and ran with it, then took the role through a real and honest journey. ‘There are Worse Things I Could Do’ was a real highlight of the show for me, and was an absolutely stunning rendition, delivered with a real sense of vulnerability and genuinity. 

Kaysee Craine was outstanding as Kenickie. His delivery of dance and song in 'Greased Lightning' was out of this world. He had real charisma and presence. I was also very impressed with the flips and box split jumps he delivered within the performance, whilst managing to control his breath to deliver the vocals.

Alex Maxwell and Grace Hoodless were remarkable as the comedic relief love couple within the show, Jan and Roger. These 2 had real chemistry together and bounced off each other. Alex's performance was brilliant, he delivered a fully rounded character with impeccable comic timing. He also has the voice of an angel. I was particularly impressed with the height and richness of his falsetto. I made a note about Grace's embodiment of Jan’s character; there was full commitment to physicality to this larger than life character. Really great work from the both of them.

Thank you once again for inviting me to this wonderful performance. Amazing work Centre Stage Productions, well done!!

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