Theatre Review: Grease - Edinburgh Playhouse ✭✭✭
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| Photo by Paul Coltas |
Review by Anne Mackie
Grease. Many would argue the 1970’s rom-com is the most
celebrated musical of all time. In fact, Channel 4’s 2008 ‘100 Greatest
Musicals’ chart tips the cult classic as THE top film musical. And why would
you argue? We all know every drunken soiree ends with a bellowing (perfectly
out of tune) rendition of the infamous Grease Megamix. However, as we gave our
own larynxes a rest, and left this classic narrative to the pro’s, we have one
question - is the 2017 UK tour ‘the word that you heard’? Does the show ‘go
together like rama-lama-lama-di-diggity-dingy-dong’? Unfortunately, we are not
quite so ‘hopelessly devoted’ to this new production…
You all know the story...
Set at Rydell High school in the late 1950’s, Grease focuses
on the morally engaged Sandy Dumbrowski and heart-throb T-Bird leader Danny
Zuko; a pair of teens who find themselves unexpectedly thrown together for
their final year of school after a summer fling. The plot progresses to follow
them and their friends as they navigate the complexities of peer pressure,
politics, personal core values, and love…all melodically tied up in infectiously
dynamic score of early rock and roll.
Admittedly, the narrative provokes a controversial message
but it is the widely celebrated music that keeps this production on its toes. A
notion that is immediately apparent as Musical Director Griff Johnson busts out
a specially arranged overture with his terrific six piece band who sit pride of
place above the stage. Throughout the course of the show, there are many
musical highlights, but unfortunately, in this case, there are also a handful
of poorly performed low lights. It is here that we must draw attention to the
star casting which infinitely lets this production down.
Tom Parker (The Wanted) plays an underwhelming Danny Zuko,
lacking the cool, smooth qualities associated with any slick John Travolta
wannabe. Instead, this charm and attraction is lost under a clearly nervous and
hesitant pop star. Parker’s dialogue pacing was slow and he appeared to lack any
power and pizazz vocally – most notably in his rendition of Sandy. Similarly,
co-star and acclaimed musical theatre icon Danielle Hope (BBC’s Over the
Rainbow) plays a more equipped, natural Sandy but lacks the spark and drive expected
from a renowned West End leading lady. Hope has the musical ability to do more
vocally - her somewhat monotonous rendition of Hopelessly Devoted to You was crying
out for a big belt climax; something she later executed in her reprise of Look
At Me I’m Sandra Dee, ultimately leading the audience to erupt into a
well-deserved applause. However, it is Strictly Come Dancing’s Louisa Lytton as
the fiery Pink Lady leader, Rizzo, who proved the weakest vocalist in the
company. Her pinnacle moment in There Are Worse Things I Could Do lacked no
believable character, emotion or vocal strength – a stark difference to her dialogue/scene
work, which was delivered with just the right amount of brazen confidence, sass
and poise. Entirely suitable for the role of Rizzo. It is safe to say the
current UK tour’s celebrity casting has not served any favours on this occasion
and although it did not ruin the production value, it certainly did not enhance
it.
It is important, in this case, to praise the work of the
supporting cast. Most notably, Ryan Heenan as Doody gives a polished,
well-rounded performance as the coy, gawky T-bird; showcasing his musical skill
superbly in a suitably inspired delivery of Those Magic Changes
and Rock n Roll Party Queen – two of the show’s undeniable highlights. Equally
as strong in the ‘Pink Lady camp’ is Rhiannon Chesterman as the quirky beauty
school dropout, Frenchy. Chesterman portrays an infectious characterisation that
is instantly adorable and warm. Top comedic credit, however, must go to Callum
Evans as Rydell’s ultimate geek, Eugene. Evans comic timing was poised to
perfection in his highly amusing interpretation of the show’s iconic loser.
Director David Gilmore and his creative associates have undeniably
endeavoured to pack an ‘electrifying’ punch in respect of the 2017 revival;
utilising pyrotechnics, flashing lights, a miraculously glitzy car
transformation, and expert, high energy movement by choreographer Arlene Philips.
However, this seems to be where the real pizazz ends, with the creative
emphasis being placed more on the ‘aesthetic spectacle’ rather than the
importance of character development.
Overall, Grease will always be ‘the word that you heard’. It
does what it says on the tin and proves a show that audiences will rarely tire
of. It’s much celebrated cult status indicates it is a production that should
not be remoulded or renewed per say, but unfortunately, in this case, the 2017
revival proves a little stale at times. Was it ‘the one that I wanted’? Regrettably
not, but the overall potential was irrefutably there.
