Hornby Musical Society: Grease - Review by Helen Bell

Grease is the word at the Pioneer Theatre in Castle Hill until 18th May!

Don't come expecting a scene by scene play of the 1978 film. This is the stage show, which has the same characters, most of the same tunes, but in a lot of ways is more interesting. This production does not sound like karaoke night, although a show with such famous recorded songs easily could. This is thanks to Music Direction by Lachlan Alexander Ceravolo and his Assistant, Max Waterson. All the songs were as fresh as well-known songs can be, full of fun, character and feeling, with leads giving each number just enough of something of their own.   But “that” note at the end of Summer Nights? Nailed. Flawless. No pressure intended for the rest of the run for Samuel Byres (Danny) and Caitlin Parr (Sandy), or their alternates.

The casting and the direction is an achievement by brother-sister director team Samuel (Director) and Elizabeth (Assistant) Dobb; everybody stays in their character, and you can see not just character on their face at all times, but the great time they are having. In a cast this size and in a show that jumps from (some gratuitous) musical numbers to dialogue and back, the consistency and energy carry the audience along with the cast. Hopelessly Devoted to You is a rare intimate moment in this show, just Parr as Sandy in front of the curtain, pouring her broken heart out to the audience with a pure yet powerful voice and surprising range. Parr shows us what else she can do with some almost acrobatic choreography in the final number.

Byres plays his own Danny, with some well-balanced ‘nods’ to John Travolta. Sandy is the one number in which we really hear his vocals on his own, and he is impressive even while hamming up what is objectively a bit of a cheesy song.

Maddie Seddon’s Rizzo is snarky, brooding, gives just a little bit of Amy Winehouse with an Italian-American accent twist, and her singing voice is amazing; her Worse Things I Could Do, captivating.  Olivia Enright’s character actress abilities shine as Marty, especially during Freddie My Love, which also shows off her movement and vocals. Ruby Crothers rounds out the Pink Ladies with an innocent take on Frenchy, cute and yet very believable, and a joy to watch in the dance competition.

One thing you may not expect, is to see Doody (Aiden Smith) playing guitar and singing for his classmates (yes, Smith is really playing); he radiates the thrill of discovering you can make your own music and the joy of sharing it with others. Later, Roger (Zach Godsmark) sings a duet with him while he plays, and also a duet with the adorable Jan (Sarah Paull), where their cute flirty interaction is punctuated by some tongue-in-cheek stage direction and some impressive notes from Godsmark, while Paull holds strong on the harmonies.

The T-Bird crew are perfectly bookended by tall confident Kenickie (Jeremy Lippiatt) and short king Sonny (Michael Kingsley). Lippiatt leads Greased Lightnin with gusto and pace while hitting all the potential tongue-twisting lyrics; his interactions with Seddon’s Rizzo balance bravado and emotion just right. Kingsley delivers his one-liners with cheek and his sung interjections with musicality and character - he’s just fun to watch.

The nerds we love to hate, Patty (Skye Roberts) and Eugene (Ethan Beattie) are played by the Dance Captains, so having them featured in the dance competition is a well deserved spotlight for their talent. When not dancing they act as over-the-top as they should. Over-the-top also goes for Andrew McBain as Vince Fontaine and Sally Field as Cha-Cha, while Kevin Rodrigueza’s bandleader-crooner Johnny Casino is understated and smooth, until provoked.

Tim Walsh almost steals the show with Beauty School Dropout, his Teen Angel flair and red-hot pipes are just fabulous even amongst a surprising number of Angels sharing the stage (certainly more than there are females on the cast list…). Even as something of a side-plot number, this scene is not to be missed.

The 7-piece band bring the music to life from their platform across the back of the stage. Lighting and set pieces have been used to control when the focus is on and away from them. The set pieces are simple, monochrome and mobile but were in no way lacking; you always knew exactly where each scene was set, without dressing distracting from the cast. Production Design was by Charlotte Turner and the Scenic Design by Bob Williams.

Charlotte Turner’s costuming was a feast for the eyes yet not overdone. There are the iconic jackets and signature outfits, of course; everything is period- and character- appropriate, and colour quietly clues the audience in early to the social groups and who is who.

Lauren Oxenham’s experience as a Choreographer is evident in the balance between consistent style and variety of movements. No doubt her Assistant Logan McArthur was invaluable in creating the sharp full-body unified execution of routines like We Go Together and Born to Hand Jive through the whole cast.

As with any opening night there were a couple of technical and lyrical hiccups which are unlikely to happen again, but it’s a delight to see such an energetic ensemble all nailing every element of their performances, and we know there has been a team behind them working hard to create this magic.

If you like dessert wine with your twinkies, fancy yourself a Hand Jive champion, or have ever wished for a fabulous guardian angel of your own, go and experience Hornsby Musical Society’s Grease before it burns up the quarter mile on 18 May.