Grease

I had always thought that maybe you had to be of a ‘certain’ age for Grease to be your ‘right of passage’ show – to have danced to Greased Lightening at school discos (and every subsequent family party) and to have heard the overture to Summer Nights every time you saw a deserted beach – However Manor Operatic Society showed that the appeal is huge and that the music and characters transcend ownership by any generation as young and old were captivated by this high energy, feel good and wonderfully engaging production.

The scale of any show at City Hall has to be the starting point, as it probably would have been possible to fit a full-size Rydell High School running track on the stage for authenticity.  Demonstrating that the floor space the performers have to cover is immense.  The set, including huge bleachers, a Diner, Marty’s bedroom and High School Cafeteria were quickly and efficiently moved around to by both cast and stage crew.  The size of the stage does allow for some amazing routines by the cast of over 50 Linda Kelly as choreographer used the full area in the best way possible creating some amazing dances and cheers which wouldn’t have looked out of place on a US Football field or at a High School Hop.  Props and costumes were excellent and when a show has a huge reputation for Brylcreem and 1950s hair styles getting it right is very important.  Nick Challenger was on his absolute ‘A game’ preparing over 20 wigs which made the actors look perfect in their roles with an incredible change for Sandy at the end.

There was great characterisation by all the principal cast with the dance team and ensemble also perfectly capturing the mood of each scene in their expressions.  A fearsome Miss Lynch (Fern Lynch-Bowers), an incredibly smarmy Vince Fontain (Gary Rossiter), a dashing Jonny Casino, with excellent delivery (Dan Rossiter) and a beautifully engaging whilst comic Eugene (Callum Haigh).  Mia Cockayne was a lively and over-the-top (in all the right ways) Patty and Rebecca Scott-Caven a wickedly vampish Cha Cha with dance moves to match.

Directors Richard Bradford and Linda Kelly found some great ways to insert originality into this well-known and much-loved production.  Their introduction of a Teen Angel Quartet with a Jersey Boys feel was brilliant and Simon Hance, Leo Appleton, George Henderson and Declan Saxton really looked and sounded the part.  The ‘Grease is the Word’ opening set the bar high for what was to come and captured the audience, transforming a cold, damp spring evening in Sheffield in 2023 to a sunny summer in 1950s America whilst also laying down the markers for the technicolor experience that the show promised to be.

The principal line-up was immensely talented and there was definitely no weak link.  Hannah Lancashire was an excellent Marty, strutting and preening in all the right places and giving a fabulous rendition of ‘Freddy My Love’.  Stuart Daniel Box was a wired and upbeat Sonny with vibrant energy.   Emily McGeoch was hilarious as Jan – eating her way through the performance, whilst never missing a line or an opportunity to swoon over the guys (or any random lunch bag which may have been left unattended).  Sophie Pitts was lovely as the misguided Frenchie and really excelled in the Pyjama Party and Teen Angel scenes – we got to see her genuine worries and anxieties underneath all the French inhaling and pink hair.  The audience perhaps saw a little too much of Sam Clarkson who played the mooning Roger – excellently done and a great number with Jan  - ‘Mooning’.  Clarkson also gave a great rendition of ‘Rock ‘n’ Roll Party Queen’ with Doody (Chris Hanlon) – these two worked really well together and were central to the rapport in the T-Birds.  Jon Warburton was an edgy and charismatic Kenicke, fully absorbed with his passion – the car.  Warburton confidently lead ‘Greased Lightnin’ – which was an incredible routine including many of the cast and ensemble.  Rizzo is a tough role to play – Stockard Channing took the part in the film and her interpretation is the one embedded in the global psyche.  Katie Ann Dolling collected the best bits of Channing’s work and absolutely made the part her own.  A really emotional and captivating performance, particularly in ‘There Are Worse Things I Could Do’ and she also maintained a fabulous accent all the way through.

Dylan Lambert was a wonderful Danny Zuko, the perfect balance of macho and sensitivity as well as angst and confidence.  A strong singer Lambert excelled in the solo numbers and worked beautifully with Emily Mae Hoyland as Sandy Dumbrowski.  A fabulous pairing as Hoyland too has a wonderful voice, great stage presence and really captured the stresses and strains of Sandy whilst also giving a little kick back by not being taken advantage of when put under pressure.  Both excellent dancers ‘You’re the One that I Want’ put Hoyland and Lambert front and centre to show their exceptional talents.  The audience may well have been satisfied with that number alone, but they were well rewarded for respecting theatre etiquette.  Whilst we hear so much negativity from major theatres about the behaviour of its patrons those gathered in the Steal City on a Friday night behaved impeccably.  Invited to join the cast for a wonderful Grease medley all 2,000 audience members rose to their feet to dance and sing with all their might along with a cast who looked thrilled at this level of engagement.  An amazing finale to an equally amazing show.

The music was excellent, under Musical Director Andrew Collis, and the seven-piece band played with great energy to match the performers with wonderful singing throughout.  Sound and light added to this show the scale of which, as referenced earlier, was incredible.  Sincere congratulations to all the performers, Production Team and those working backstage and front-of-house as it was a fabulous show and a brilliant night’s entertainment.

© NODA CIO. All rights reserved.