Autumn evenings have transformed into summer nights at the Byre, as MusT’s production of Grease takes us back to the 1950s, complete with slicked hair, flared skirts, and leather jackets. Any production of the forever-iconic musical will always face comparison to the countless beloved previous adaptations by its audience, but that wasn’t a concern for this cast. The combination of high-energy numbers, fast-paced quips, and chemistry rivalling that of the Purdie building led to a show that the whole audience will be sure to remember for a while. A balance of fun and professionalism drew the audience quickly into this captivating performance of the classic show, eliciting chuckles and cheers from start to finish.
Right from the performance of ‘Summer Nights’ it was evident that Maeve Murray, starring in the role of Sandy, was the perfect choice to lead this production. I don’t know what I was most impressed by – her characterisation, her stellar vocals, or her ability to dance that well in pleather trousers. During her Act Two solo of ‘Hopelessly Devoted’, she gave the entire audience goosebumps as she commanded the empty stage with a presence few can achieve. Opposite her, Callum Wardman-Browne brought the role of Danny to life, bringing a refined cockiness that matched his Brooklyn accent perfect for the character. Despite fewer opportunities to shine in the first Act, Wardman-Browne had his moment during ‘Sandy’, and carried that momentum into ‘You’re The One I Want’, where his chemistry with Murray, along with the extraordinary talent of the rest of the cast, led to an explosive closing number, getting a much-deserved standing ovation from the audience.
Although the whole cast was incredible, certain roles were taken to the next level. The beloved character of Rizzo, played by Isabella Gustitus, was impeccably portrayed, giving the character’s mannerisms and quips, such as her constant digs as Sandy and the swagger in her step, a memorable sharpness. Gustitus brought a certain energy and talent to any dance-heavy number she was in, with such an infectious joy that I often found myself drawn to her maximalist energy. Next to her, Madeleine Wilton brought more personality to the role of Marty than anyone was prepared for, delivering each line with a mix of sarcasm and disinterest, making it impossible not to fall in love with her performance. As she sings of a marine who she’s fallen in love with in her spotlight moment, ‘Freddy My Love’, not an inch of the stage was missed as she strutted about in a kimono, delivering a two-in-one of comedy and vocals. When it came to the T-Birds, while all of them got in well-timed one-liners that drew more than a laugh or two from the audience, it was Ian Crews in the role of Kenickie who stood out. His comedy – particularly during ‘Born To Hand Jive’ and in his dialogue with the other T-Birds – kept the audience laughing and engaged throughout the whole show. Even when not centre stage, he kept the character alive while fixing his perfect 50’s hair. Of course, I would also be remiss not to mention Dylan Swain, who, despite having little time in the role of Vince Fontaine, still managed to have an undeniable presence, bringing a new light to the room every time he popped up at the side of the stage wearing an “On Air” sign.
When it came to the performances, choreographer Katy Barnett found the perfect balance between 50’s flair and modern style, creating dynamic group numbers such as ‘Greased Lightning’, ‘We Go Together’, and ‘Summer Nights’. Topping that list by far, however, was my personal favourite song from Grease, ‘Born To Hand Jive’, which contained more jumps, slides and twirls than you could have hoped for, making sure to rotate each couple to centre stage for at least a moment. Paired with the vocal direction of musical director May Tomlinson, who interpreted each song loyally to the original production but added small variations to keep things interesting, each time music began the audience was on the edge of their seats to see what was coming. Several audio hiccups did leave the audience struggling to hear parts of a few songs, but despite this, everyone still remained strong, managing to deliver powerhouse performances. This was further helped by the live orchestra and their musical director, Bartek Kuklinski, who helped to bring more life and dimension to each song than any recording could come close to, bringing vibrancy, melancholy, and everything in between, into the room.
Visually, the show was a spectacle to behold. Costuming, done by Bella Hirst, just elevated it further. Pink ladies bomber jackets, flare skirts, and a full white suit for Teen Angel, immersed the audience even deeper into the full 50’s fantasy. The ability of Lahari Thati and Holly Ward, who worked on the set, to turn the stage from a high school campus, to a teenager’s bedroom, to a school dance, with just a few pieces was testament not only to their design skills but also to the immersive reality the cast provided throughout the whole show. Unfortunately, use of a slightly overactive smoke machine did detract slightly from the show at points, when visibility of what was happening onstage was somewhat limited by a looming cloud of smoke that soon went on to fill the entire theatre. Despite this, the smoke led to interesting interactions with the lighting, overseen by Lucy Turner, which was used simply but effectively to reflect the T-Birds and the Pink Ladies, especially during Danny’s solo, Sandy. A particular highlight of the show was when the audience erupted into cheers and applause at the arrival of the iconic car, ‘Greased Lightning’, made of a cardboard front piece and two inflatable tyres, supported by a whole three-person team – something that I’m sure can be attributed to Jaden Jones, who worked on props.
So, is it worth snagging a ticket to go see Grease? Well, I would say yes, but it’s three-night run is already entirely sold out, testament to its quality, as well as the work of their publicist, Ellen Rowlett (you can still get on the waiting list for tickets though, which I highly recommend). That being said, the entire cast and crew, under the direction of Caroline Daley and production of Siobhan Williams, have created a must-see show sure not to be forgotten any time soon. So, if you have the chance, ride over to the Byre, take a seat, and get ready to be swept away!
