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Grease
Book, Music, and Lyrics Jim Jacobs and Warren Casey
Additonal Songs by Barry Alan Gibb, John Farrar, Louis St. Louis, Scott Simon
Direction and Musical Staging by Michael Hamilton
Choreography by Tony Gonzalez
STAGES St. Louis
July 24, 2019

Cast of Grease
Photo by ProPhotoSTL.com
STAGES St. Louis

Grease is an unusual show, especially for one so popular. A perennial crowd-pleaser, the show has been altered a lot since its Broadway debut in 1972 and subsequent mega-hit film version in 1978. In fact, it’s the film’s ubiquitous hit status that has affected this show the most, with most major productions and big-scale revivals including songs from the movie and sometimes even changing the plot and order of scenes/songs to more reflect the film. I’ve seen the show on stage several times, and it’s never been the same show. Now the show is featured as the second entry in the 2019 season at STAGES St. Louis, and as is usual for this musical, the crowd loves it. It’s an entertaining show, with an enthusiastic cast and the familiar songs that basically everyone recognizes now. Here, although the version being staged greater highlights the differences between the original play and the film, and how awkward blending them can be, the cast and creative team have worked together to present a show where the music, 50s style theme, and especially the dancing are at the forefront, making for a fun show overall.

Grease is so well-known that a detailed plot summary isn’t that necessary, except in terms of how the stage version differs from the film. It’s still the story of “bad boy” greaser Danny Zuko (Sam Harvey) and “good-girl” new girl in school Sandy Dumbrowski (Summerisa Bell Stevens), who have to deal with the pressures from various groups around them after they unexpectedly reunite at Rydell High School after an idyllic summer romance at the beach. The T-Birds, led by Danny and his best buddy Kenickie (Jesse Corbin) are here as an influence on Danny, and the Pink Ladies, led by tough-talking Betty Rizzo (Morgan Cowling) awkwardly bring Sandy into their group after she’s befriended by wanna-be beautician Pink Lady Frenchy (Lucy Moon).  Those basic plots are the same in the film and the original stage show, but the songlist is different and some of the scenes have been changed around, as well as the tone and message being generally harsher, grittier, and more crass in the stage show, although most revivals have “smoothed out” the grittiness. This one tries to keep it for the most part, although the mix is somewhat odd because the movie songs (especially “You’re The One That I Want” instead of “All Choked Up”) don’t exactly fit, and the context doesn’t always work as well. Also, whether you see the ultimate message as problematic or empowering (I’ve seen both arguments), it seems more abrupt and somewhat muddled in this version. Also, the sanitized versions of the songs (especially “Greased Lightning”) are used here, which doesn’t mix as well with the grittier tone of the stage script.

Still, this production entertains, even with the awkwardness of the mix between sources. The emphasis this time is on the styling, musical performances, and 50s-style choreography by Tony Gonzalez, with a lot of energy and enthusiasm from a strong ensemble. The leads are good, particularly Harvey’s charmingly goofy Danny, but the real standouts are the “supporting” T-Birds and Pink Ladies, especially Brooke Shapiro as Jan and Collin O’Connor as Roger, who make a fun couple and whose “Mooning” number is a highlight, as well as Julia Johanos as the more worldly Marty, and Patrick Mobley as Doody, who brings a youthful energy to his role as the rock-star wannabe T-Bird. The chemistry between the various cast members is also strong, bringing joyful style to songs like “We Go Together”, as well. Also excellent is Kenora Lynn Lucas in a dual role as a big-voiced Teen Angel in the show-stopping “Beauty School Dropout” number and as strict teacher/principal Miss Lynch, hilariously delivering the pre-show announcements in character to the start off the show on a fun note.

Technically, this production is excellent, with a fun, colorful set by James Wolk featuring a backdrop resembling an old-style jukebox, and vibrant lighting by Sean M. Savoie. The costumes by Brad Musgrove are also memorable, colorful and true to the period. This is a great looking show visually, and the energetic choreography gives it an upbeat tone overall.

While no two versions of Grease are the same in my experience, this is a show that can draw an audience on its name alone. At STAGES, the emphasis is on style, dancing, and ensemble energy. Even with some of the odd mixture between versions, this is a fun show, sure to entertain.

Cast of Grease
Photo by ProPhotoSTL.com
STAGES St. Louis

STAGES St. Louis is presenting Grease at the Robert G. Reim Theatre in Kirkwood until August 18, 2019

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Grease

Book, Music and Lyrics by Jim Jacobs and Warren Casey

Directed and Choregraphed by Denis Jones

The Muny

July 31, 2014

Taylor Louderman, Brandon Espinoza Photo by Eric Woolsey The Muny

Taylor Louderman, Brandon Espinoza
Photo by Eric Woolsey
The Muny

“Grease is the word,” or so the song tells us. The big issue with Grease the musical, though, is that you can’t be sure which word you’re getting, depending on the production. From the grittier original Broadway production to the highly nostalgic 1978 film to the more over-the-top stylized approach of some of the revivals, this show can appeal to many different audiences depending on the director’s vision. The latest production at the Muny mostly takes a straightforward nostalgic approach, and considering the Muny’s large, varied audience, that’s probably the best for this venue. A crowd-pleasing production with a youthful, energetic cast and some creative staging, this Grease is a journey back to the 50’s that, for the most part, is worth the trip.

This is a production that is even more informed by the film than others I have seen, even though pretty much all versions include songs from the movie now.  Some of the show’s original songs have been completely replaced by film songs in this staging.  Where “You’re The One That I Want” replacing “All Choked Up” is basically the standard now, this version also replaces “It’s Raining On Prom Night” with “Hopelessly Devoted to You” instead of just adding the latter song in another scene, and Danny sings “Sandy” at the drive-in instead of “Alone At a Drive-in Movie”.  This staging also censors some of the songs’ lyrics, especially in “Greased Lightning”.  Still, the version here is probably the best film-influenced adaptation of this show I’ve seen, because the way it’s put together, along with the enthusiasm of the cast and some clever staging, makes the story work, for the most part.  The show is not overly stylized (except in the fantasy sequences, where stylization is most appropriate), and the 50’s-era atmosphere is detailed and consistent, with excellent adaptable sets by Timothy R. Mackabee and costumes by Andrea Lauer, along with a clever use of 1950’s ads and images in the video projections designed by Matthew Young. Although there were a few problems with the set on Opening Night, for the most part it’s a very effective and stylish evocation of the era.

The story has become a very familiar one–of the T-Birds and Pink Ladies at Rydell High School and their clash with the traditional establishment and cultural expectations. When wholesome good-girl Sandy Dumbrowski (Taylor Louderman) transfers to Rydell and re-unites with her summer love, T-Bird Danny Zuko (Brandon Espinoza), other peoples’ expectations battle with their own feelings for each other, as both try to figure out how to balance image with identity to see if their relationship will survive.  Meanwhile, Danny’s friend Kenickie (Drew Foster) aims to fix up his car into a stylish hot rod to help him impress girls, as well as dealing with a complicated relationship with Betty Rizzo (Arianda Fernandez), the tough leader of the Pink Ladies whose bravado masks a sense of vulnerability that eventually is made clear late in the show. The T-Birds and Pink Ladies also battle with the more conventional elements at Rydell, represented by cheerleader Patty Simcox (Rhiannon Hansen) and imperious teacher Miss Lynch (Phyllis Smith). Mostly though, in this version of the story, this is a journey through the various elements of 1950’s culture with songs, dances and situations that celebrate youth culture and counter-culture alike.

The Muny has done well to cast most of these roles with young, engaging personalities, especially with the two leads and several of the supporting players.  Louderman brings a real sense of girl-next-door sweetness to Sandy, and her voice on songs like “Summer Nights” and “Hopelessly Devoted to You” is big and powerful.  She and the good-looking, charming Espinoza have good chemistry together as well, and while “You’re The One That I Want” still sounds more 70’s than 50’s, these two make it work.  Foster is an appropriately swaggering Kenickie, and Fernandez displays a strong voice and snarky attitude as Rizzo, and the rest of of the T-Birds and Pink Ladies are particularly well cast.  The real standouts are Natalie Kaye Clater as Marty, who brings a lot of spunk and stage presence to her solo “Freddy My Love”; Larry Owns as Roger and Amelia Jo Parrish as Jan, whose song “Mooning” is a lot of fun; and Tyler Bradley Indyck as wanna-be rocker Doody, whose capably leads the brilliantly staged “Those Magic Changes” production number.  The adult characters are well-played as well, with Smith (most famous from TV’s The Office) getting an ideal role for her talents, including some fun dancing moments, as Miss Lynch, and Matthew Saldivar as smarmy radio DJ Vince Fontaine.  The Muny’s Youth Ensemble is in fine form here as well, bringing style and energy to the big dance numbers like “Born to Hand Jive” and the show’s biggest applause-getter, the stage-filling gospel and R&B influenced arrangement of the “Beauty School Dropout” number, anchored by a stellar performance from Teressa Kindle as the Teen Angel. Although this song has more of a mid-60’s Aretha Franklin-esque vibe than the rest of the show, it works because of the strong performance and staging, and also because it’s a fantasy sequence, so the Teen Angel could very well be seen as a time traveler.  The rest of the show is very much tied to the 50’s, but this scene provides a glimpse of what is ahead musically, and it’s extremely memorable.

For the most part, I would say this production communicates the nostalgia angle with just the right balance of humor, style and spectacle, while still maintaining a more realistic tone than other productions of the show I’ve seen (like the extremely stylized early 90’s Broadway revival). Grease, in its most commonly staged form, is one of those shows that provides nostalgia for two generations–the Baby Boomers who actually experienced the 50’s, and Gen Xers like me, who most remember the film. This production at the Muny favors the 50’s approach with a little bit of 60’s and 70’s flavor, although it’s staged cleverly enough that it brings the 1950’s to a 2014 audience in a charming and stylish way that’s sure to appeal to audience members from all generations.

Cast of Grease Photo by Philip Hamer The Muny

Cast of Grease
Photo by Phillip Hamer
The Muny

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