The Burger Palace Boys in the UK and Ireland tour of GREASE. Photo credit Manuel Harlan
Venue: Birmingham Hippodrome
Performance Date: 14 August 2019
Star Rating: ★★★★
When you think Grease, thoughts immediately fly to the 1978 musical film adaptation, which is about as familiar as a warm hug. Starring a young John Travolta and Olivia Newton-John, Grease was a critical and commercial success becoming the highest-grossing musical ever at the time. Its success also yielded a soundtrack album which at the end of 1978 was the second-best-selling album of the year in the United States behind Saturday Night Fever. The most recent and current UK tour of Grease is a fresh, and at times unfamiliar imagining of a musical, that is as iconic as it is adored.
Despite the movie being the most familiar and well-known version of the production the show actually started its life on Broadway in 1971. Set in 1959 in the fictional Rydell High School in Chicago, Grease was written by Jim Jacobs and Warren Casey and follows the stories of a group of students who attempt to navigate the complexities of growing into adulthood. The plot centres on Danny Zuko, a member of the Burger Palace Boys and new girl Sandy Dumbrowski who had a brief fling during the summer break.
Arguably one of the most popular musicals ever written, Grease is blessed with an insanely catchy soundtrack of smash-hits including Summer Nights, Greased Lightin’, We Go Together and You’re The One That I Want which are party staples and the draw of the show continues to endure. However, for people heading to Birmingham Hippodrome expecting to see another adaption of the film will be in for a shock. This production of Grease has been billed as ‘grittier and more glamorous than ever before’ with truer words never being spoken. Gone is the saccharine and candy floss sweetness normally associated with the show and in comes the reality of life in 1950’s Chicago for working-class kids.
The character changes are immediately noticeable with them all becoming significantly more complex and at times hugely unlikable. Characters that have traditionally been on the fringes have been given more developed character arcs and their own numbers. It’s safe to say that the characters we know and love have been given a real-world overhaul with none more noticeable than Sandy. Although she remains the shy and affluent new girl, she is immediately more no-nonsense and ballsier which is partly thanks to the commitment of Martha Kirby in the role. It is hard to believe that this is her professional debut as her performance is sharp and poised with her delivery of Sandy’s solo’s note-perfect. Kirby is definitely one to watch and looked every inch the leading lady as she breathed fresh life and more sass into a usually submissive Sandy.
Dan Partridge steps into the role of Danny Zuko and brings an edgy, jockish air to the character. His swagger and disregard for anyone’s feelings make him wholly unlikeable and thanks to the changes in the script his character doesn’t evolve much beyond that which is a shame. Partridge has an incredible stage presence and very much makes the character his own. He is also incredibly strong vocally and takes on Danny’s numbers with assured confidence. Rhianne-Louise McCaulsky produces a show-stealing turn as Pink Lady Rizzo with her iconic solo There Are Worse Things I Could Do is one of the standout moments of the show.
Darren Bennett plays the self-loving DJ Vince Fontaine, whose character unfortunately single-handledly ruins the Hand Jive scene. Inappropriate and sleazy in the film, Bennett takes those characteristics to new levels as he inappropriately gropes at the students as they take part in the famous dance contest. What should have been a pivotal scene was distracted by Fontaine’s unnecessary and over the top behaviour which could really do with being toned down. Whilst there is nothing wrong with Bennett’s delivery of the material, it’s possible that this was an embellishment to demonstrate how such behaviour was excused and rife in the 1950s. Even if that is the case it feels wildly uncomfortable and detracts from the fine choreography of the scene.
The celebrity draw of the show is, of course, Peter Andre whose cameo of Teen Angel nigh on blew the roof off the theatre. Andre’s performance was solid, although barely audible thanks to the screaming his appearance ensued. He certainly looked the part and was clearly revelling in his role as he delivered Beauty School Dropout with a suave mischievousness.
Arlene Philips has been busy of late and has waved her magic choreography wand over this production. The movement is energetic, slick and sharp which lifts the show to new levels. That, combined with Colin Richmond’s clever stage design and Nikolai Foster’s expert direction ensures this production really does put its stamp on this iconic musical.
Re-imagining Grease in terms of taking it back to its gritty working-class roots was a bold decision and a risk considering how beloved the movie is to so many. However for shows to endure they must evolve and although this production of Grease won’t be familiar to some, it retains its magic and charm along with its toe-tapping soundtrack. Based on the rapturous curtain call and the reaction of the audience to the Grease Megamix, led by Andre, that risk appears to have paid off.
