Grease

“Automatic, systematic and hydromatic”, Grease, the derelict musical vehicle from 1971, is potentially problematic. Inherent to the story are a range of unhelpful stereotypes. Toxic masculinity and misogyny drive a plot in which the main protagonists become something other than who they are to gain the favour of the other.

Director David Thomson handles this brilliantly. With only minor changes, Thomson has created the space for his young cast of Summer School students to reconsider the intent behind some of the dialogue. Danny Zuko, as played on opening night by Toby Manning, refuses to be drawn on the exact nature of his “Summer Nights”. This gentler, more human, portrayal of the leader of the T-Birds, is unafraid to call out the poor behaviour of others.

Similarly, the fat shaming associated with Jan (Shannae Shead) and Roger (Oliver Thomas) is played down in order to highlight a relationship in which two quirky people find a connection. Eugene (Hartley Jak- recently an excellent Cogsworth) is still taunted and victimised but without the sexual overtones. By and large, the humour is retained without the nastiness. Fergus McLean is excellent as the clueless Sonny (as he was in last year’s Summer school as Nathan Detroit).  Like so many of the male characters, McLean managed to be funny and of the era, without exhibiting underlying malice.  Lines delivered with irony or an alternative intent reduced the element of “cringe” for the audience. Thomson has pimped his ride into something for which a chick might “dream”.

Sandy’s transformation does not sit well with audiences, especially with the scripted moment of physical violence. A more successful revamping is the set piece which is the car. Christopher Oakley effected a miracle. The opening night audience gasped as the rusty hulk was subject to an onstage quick change. The rest of the set comprises locker-esque Shoji panels. Two staircases are put to good use and are moveable to create the space for the choreography by Caitlyn Carnaby. Carnaby references the well-known movie but is well adapted to the ability of those on stage.

The band is on stage on the upper level of the set. Castles’ work is always outstanding. The band is, as always, in top form, and Castles’ vocal direction results in a strong ensemble sound with impeccable diction. Sound design is rarely given any accolade but Andrew Johns always enables the cast to be heard at their best. This is especially important when the audience has an expectation of a certain type of sound.

Sandy (Cecilia Hutchinson) gives a perfect but natural Olivia Newton-John performance. “Hopelessly Devoted” does not disappoint.  Amelia Howell as Rizzo is the perfect casting choice. She looks and sounds just right as the acerbic yet tortured and vulnerable soul who gives “There are worse things I could do” with such power and presence.

Lucy Hannon (Frenchy), Phoebe Schultz-Webb (Marty), Lachlan Cooper (Doody), Flynn Gorman (Kenickie) are all strong performers with very well-established characters making up the complement of supporting principals.

The Old Nick Summer School has a long tradition of high-quality entertainment. Vince Fontaine knows this well. “Just be yourselves and have a ball. That's what it's all about, after all”.

Anne Blythe-Cooper