Grease is traditionally a powerhouse show, and there is not much difference in this touring 2024 production. Nikolai Foster’s direction is astute, Arlene Phillip’s choreography expertly executed, and Jim Jacob’s and Warren Casey’s script is given just treatment by this large ensemble cast. However, it is not without its blemishes, and this interpretation of the classic 1950’s love story has lost some of its charm along the way owed to some slightly muddy performances and lackadaisical approach. Fortunately, it still just about holds up.
This show is a spectacle, it has to be said. The set design is big and bold, the lighting design adventurous and loud. It is a treat for the eyes, complimented further by some stellar choreography perfectly executed by those on stage. There are true dancers here, and the larger set piece sit tidily alongside individual moments so efficiently it conveys a scope that everything we see is writ large even when it is more intimate. There is a really adept understanding of proxemics on display here, with depth utilised to great effect and levels equally not neglected and used to serve to the piece’s advantage.
However, unfortunately much of the show’s attractive embellishments are undercut by what I fear I can only be described as imprecise and unrefined performances. Accents are wayward, lines are rushed, and some acting seems to signal and predict itself, killing any liveness and responsiveness. It is a shame that our Danny Zuko, Marley Fenton, despite being a remarkable singer and dancer, is also an un-captivating lead in this sense. He is never truly believable, as it appears he doesn’t appear to believe himself either and offers a performance that feels explicitly on-rails and rigid. To his credit, he brings a playfulness to Zuko that is fitting at least, but it appears this is the only fluidity present in his performance. Hope Dawe’s Sandy D offers a similar lack of consistency at times, but broadly speaking is slightly more compact in her role on stage. Fortunately, our two romantic leads are unabashed and unblemished when it comes to vocal performances, although it can be argued Fenton’s Zuko is doing a bit too much at times.
There is great strength among the cast in performers. Notably this show is worth seeing alone for Alice Belgarde’s portrayal of Frenchy – focussed, fun and a great joy to watch, her precision is impressive. Similarly, Emerald B and Joe Fontaine shine as Jan and Vince Fontaine respectfully. The larger cast also play humour very well throughout, and there is certainly a drive towards ensuring Grease offers the experience of being a good, fun night out.
For fan favourites, you’re likely not to be disappointed, and arguably not even for casuals or newcomers to this type of theatrical world, but I cannot help but think if the work had been polished and slightly more thorough in its delivery, we may have had a true powerhouse with no sign of stopping, no matter how hard one might try slamming the brakes.
Grease is running at the Sheffield Lyceum until Saturday 16th November 2024.
Reviewer: Louis Thompson
Reviewed: 12th November 2024
North West End UK Rating:
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