Grease

Grease

Wigston Amateur Operatic Society (WAOS), Little Theatre, Leicester - May 2024

The Show

WAOS is a long-established company that in recent years has graduated to popular modern musicals like Legally Blonde, Sister Act, last year’s excellent Ghost, and this production of Grease.

Originally presented on Broadway in 1971, Grease reflects the emergence of ‘the teenager’ in 1950’s America. It was of course the 1978 film which made the characters and songs so famous and gave every subsequent production a high standard to live up to. WAOS rose to the challenge with this lively and thoroughly entertaining show.

The Direction, Orchestration and Choreography

Director Sarah Varnam hit the target with the atmosphere of ‘greasers’ and ‘bobby-soxers’ personifying the 1950’s teenage revolution. The production’s individual characterisations fitted the story, and the respective pairings developed convincingly with the ups and downs typical of adolescent relationships.

Musical Director Katie Bale focussed skilfully on getting the songs performed as originally scored, rather than the simpler film versions. Consequently the music had the depth and emotion that reflected the developing characters while still giving the audience the musical treat they were expecting. Though not always visible to the audience, the well-led and excellent band was cleverly positioned in an attractive ‘balcony’ setting above the stage which gave the impression of it being a feature of the show, without intruding on the action.

In Grease, with demanding ensemble numbers, slick Choreography is key. Choreographer Lyd Rushton, ably supported by a well-drilled cast, achieved the lively musical movement that gave this show its energy, effectively transmitting the youthful exuberance of the characters. The early Summer Nights number, contrasting two approaches to young romance, got the show off to a great start, setting the atmosphere and introducing the characters. That, and the very lively ‘Born to Hand Jive’  in Act 2, were examples of the importance in Grease of fast-moving action effectively choreographed, which this company delivered aplenty.

The Staging

Staging was well-lit, simple and effective, minimal stage furniture and back-projected scenes allowing effective presentation of settings with ample space for action and large ensemble numbers. Also impressive was the cinema-size ‘live’ close-up projection of the two leading characters as background to Sandy’s lovely Hopelessly Devoted to You. Another interesting addition was the projection, before ‘curtain-up’, of 1950’s American TV clips which, while inaudible over the pre-show audience buzz, helpfully introduced the era of the coming entertainment.

Sound and lighting were effective in maintaining the atmosphere, and costumes were particularly in keeping with the setting and timing of the show and with the outfits we know from the 1978 film.

Congratulations to Technical Director Joe Roberts and team for the impressive technical presentation.

The Cast

The committed enjoyment of this company was sustained throughout the show, and their enthusiasm spread to the audience.

Grease revolves around the developing relationship between demure Sandy and more adventurous Danny which, having started as a holiday romance, has to find new direction when back at school among the rebellious ‘Burger Palace Boys’ and ‘Pink Ladies’.

As Sandy, Jenna Leigh looked great, and acted and sang the part with assurance, graduating effectively from the romantic innocent portrayed in Summer Nights to the liberated character in tight leather that we eventually see in You’re the One That I Want. Her strong voice was shown to best effect in Hopelessly Devoted to You, when her character’s transformation begins.

Also impressive in characterisation was Gaz Hunt as Danny. A strong and assured performance, Gaz convincingly portrayed Danny’s discomfort in switching between romantic holiday boyfriend and streetwise teenage gang member. His vocal strength, too, was well demonstrated in his Sandy and in the ensemble-backed duet You’re The One That I Want.

Of the Pink Ladies, the bobby-soxers who try hard to introduce Sandy to their lifestyle, Rizzo is the group’s natural leader. In this part Katie Wilson performed strongly as the most raunchy and rebellious member of the girl gang. Her teasing Look at Me I’m Sandra Dee, and later (when her own life changes as a result of her carefree lifestyle) the contrasting There are Worse Things I Could Do, were well performed.

Of the other Pink Ladies, Lucy Foreman was consistently enjoyable and comedically effective as the outspoken, ever-hungry Jan, Katie Proctor was strong as smoking, drinking Marty, trying hard to lead Sandy astray, and Emily Woodall convinced in her sensitive performance as Frenchy, the gang member who first befriends Sandy but, dissatisfied as a student, drops out of Rydell High to go to Beauty School.

The main members of Danny’s band of ‘Greasers’ were Kenickie, Doody, Roger and Sonny. As Kenickie, Nick Wilkins was very believable as the lead ‘tough guy’, whose treasured car was wildly celebrated in his entertaining and lively Greased Lightning. Zach Varnam, as Doody, convincingly portrayed the awkward youth happy when trying to be a rock-n-roller; his duet with Roger, Rock and Roll Party Queen, particularly well-presented. Jacob Bale was very effective as the self-confident, somewhat sarcastic Roger, ever ready for a ‘rumble’, and Jay Kenny sensitively portrayed the diffident Sonny whose unsuccessful girl-hungry ambitions are eventually resolved by Marty.

In supporting roles: Ben Bromley added humour in the part of Eugene (the school nerd); Charlene Wissett as schoolteacher Miss Lynch convinced in trying to instil discipline at Rydell High; Sophie Brown made a brief but effective appearance as Patty with her own attraction to Danny; David Jackson performed two roles of Vince Fontaine the smarmy DJ and the ‘guardian Teen Angel’ who offers advice when Frenchy is considering moving to beauty school, and Shell Cully was effectively distracting as ChaCha, who sets sights on Danny at the school dance, where Orlando Mateo was convincing as the cheap but keen singer who leads the ‘hand jive’ competition.

An exhilarating evening’s entertainment, thoroughly appreciated by a capacity and vociferous second-night audience, whose enjoyment reflected that on stage.

Well done WAOS. A strong production.

Colin Blackler

© NODA CIO.  All rights reserved 

© NODA CIO. All rights reserved.