Reviewed by: Emma Parfitt

Grease is the time, it’s the place, it’s the motion – it’s the musical that has thrived since the release of the hit movie starring John Travolta and the late Dame Olivia Newton-John in 1978. Nonetheless, its outrageous storyline and at time controversial characters make it a challenge to produce in a modern context: a challenge that University College rose to. 

Grease, directed by Jess Irons and Amelie Griffiths-Brown, is a portrait of the high school dramas of late 1950s America. Sandy Dumbrowski (Olivia Bowater) and Danny Zuko (Will Hamilton) return to school after a romantic summer fling. As Sandy tries to find a place at her new school amongst the Pink Ladies, Danny gives her the cold shoulder to impress his too-cool-for-school friends, the T-Birds. Danny’s apparent disregard for Sandy’s “college girl” look and the growing peer pressure of her friends culminate in Sandy’s decision to become the one Danny wants, clad in a tight-fitting black dress and leather jacket. 

University College’s production of Grease was a rollicking delight filled to the brim with exceptional performances. Arriving at Union Theatre, the anticipation of the audience was palpable, and for good reason; they were in for an extremely entertaining and fun night of theatre. Bowater and Hamilton were a strong leading pair with great chemistry and vocal prowess, particularly in “Summer Nights”.  Bowater’s portrayal of Sandy was tender and innocent, contrasted by the brash and uncaring Pink Ladies. The Pink Ladies together onstage was a joy to witness; they bounced off each other seamlessly and each offered a committed and convincing performance. Hamilton’s Danny was suave and a convincing T-Birds leader, but he also brought a hilarious, clumsy cluelessness to the character. The T-Birds were an extremely comedic group, nailing exaggerated characterisation that resulted in hysterical delivery. “Greased Lightning” was a perfect example of this, complete with an incredibly well-executed car and a fantastic combination of iconic and fresh choreography (Jess Irons).

The featured cast also provided some exemplary performances, supported by a strong ensemble. Antoinette Boxall’s Patty Simcox was delightfully dorky, and her plastered-on smile lit up the stage. “Freddy My Love” was performed beautifully by Jess Rothwell as Marty, while Betty Rizzo’s “There Are Worse Things I Could Do” was blown out of the water by Mia McGovern with stunning vocals. The highlight of the show was “Born To Hand Jive”, with Angus Mayes bringing effortless Elvis-esque energy to Johnny Casino. The choreography of this number was electric, and Danny and Cha-Cha’s (Izzy Stone) partner dance – kicks, tricks, and all – was worthy of the audible gasps and cheers it received. 

The lighting (Sophia Murphy) and set (Amy O’Driscoll) design also contributed to the exaggerated, satirised approach of this production, with the detail of stickers featuring the most desirable men of the time stuck on the girls’ mirror and walls a thoughtful touch showing the shallow attractions prominent in Grease. The motif of pink and blue lighting was prominent throughout the show, highlighting the hypermasculinity and femininity of the T-Birds and Pink Ladies, cleverly leaning into the gendered themes of the show and making great use of the cyclorama. The lights, set and classic, thoughtful, period-appropriate costumes (designed by Gabby Waterworth) worked harmoniously, a highlight being the pink and blue lights thrown onto the checkerboard set. However, more front light could have been utilised at times so the actors’ faces could always be seen. The audio was also patchy at times, with some issues with microphone positioning and connectivity, sometimes making it difficult to hear the performers over the music – however the cast persisted with great poise.

University College did an admirable job leaning into the unavoidable sexism of the musical, almost satirising the show to create a commentary of misogyny in 1950s American high schools. The direction of Irons and Griffiths-Brown created both a poignant and hilarious take on the classic musical, successfully adapting it for a 2023 audience.