Few venues could host something as gleefully ridiculous as ‘Ancient Grease’, but The Vaults proves the perfect playground. By taking the familiar DNA of the much-beloved musical Grease and hurling it backwards in time to Mount Olympus, the production, written by Lady Aria Grey, creates a riotous, camp, and unapologetically adult parody that revels in theatrical mischief. The result is a night of theatre that feels mischievous, raunchy, and irresistibly fun.
Set at the fictional Olympus Academy, the story “loosely” echoes the structure of the original Grease narrative, but with gods, goddesses and mythical chaos replacing high school antics. Zeus (Peter Camilleri) and Hera (Philippa Leadbetter) find their relationship under the watchful manipulation of the Fates whilst other Olympians weave through a story filled with divine hormones, comedic misunderstandings and gleefully naughty humour. The show proudly leans into its parody status, delivering a knowingly cheeky reworking of the iconic musical with a strong sense of queer joy and irreverent energy.
The cast approach the material with admirable commitment, understanding that a show this outrageous only works when performers lean fully into the absurdity. Among them, the portrayal of Clotho (Lara Sas) is particularly mesmerising. There is a magnetic quality to their performance, balancing playful mischief with a mysterious edge that makes every entrance feel like a shift in the show’s energy.
Equally captivating is Atropos (Grace Kelly Miller), who commands the stage with an almost hypnotic confidence. From the moment she appears, she holds the audience firmly in the palm of her hand. Her presence acts as a kind of narrative glue, guiding the chaotic divine drama with a knowing wink and a perfectly timed comedic instinct.
Lucy Penrose’s characterisation of Aphrodite offers another standout interpretation, channelling the rebellious spirit of Grease’s Rizzo whilst somehow crafting something distinctly her own. This character feels both familiar and refreshingly original, blending sass, attitude and vulnerability into a performance that lands every punchline while maintaining a strong musical theatre presence.
Yet the undisputed star of the evening is Leadbetter as Hera. From the first moment she steps on stage, the audience senses something special has arrived. Bold, comic and wonderfully unpredictable, Hera’s larger-than-life personality electrifies the entire production. Her Newton-John-esque Australian accent becomes a comic instrument in its own right, generating wave after wave of laughter, but it is the Leadbetter’s fearless commitment to the role that truly takes command of the entire evening. Every scene she inhabits becomes brighter, louder and infinitely more entertaining.
Technically, although this is not a big budget show, the production makes excellent use of the unusual space. The stage stretches like a runway through the centre of the long auditorium, placing the audience on either side and creating an immersive, high-energy atmosphere where performers move fluidly among spectators, picking on them throughout to participate at different times. The staging suits the show perfectly, allowing for spontaneous audience interaction that feels playful rather than forced.
The set design by Isabella Van Braeckel and lighting design by Clancy Flynn are particularly inventive, adding a quirky visual language that complements the show’s camp aesthetic, with lightning bolts and lots of pink!! Flashes of colour and clever staging transitions heighten the sense of divine chaos, while the choreography and movement by Lucinda Lawrence, fill the long performance space with constant energy.
Perhaps the greatest success of ‘Ancient Grease’ is its sense of joyful participation. Audience involvement is perfectly judged, turning the theatre into something closer to a shared party than a traditional performance. Laughter ripples across the room throughout, and by the finale the crowd feels entirely swept up in the anarchic celebration.
By the finale, the entire room feels less like a theatre audience and more like a co-conspirator in the show’s chaotic mythology. It is ridiculously silly, outrageous and enormous fun. For anyone looking for a night of theatre that embraces laughter, absurdity and a healthy dose of mythological misbehaviour, ‘Ancient Grease’ delivers divine chaos in the most delightful way.
Highly recommended for a thoroughly entertaining evening, the show runs at The Vaults until 31st May 2026 and tickets are available here: https://www.thevaults.london
Reviewer: Alan Stuart Malin
Reviewed: 12th March 2026
North West End UK Rating: