Midvale’s Grease is the Word

By Larissa Villers Ferre

Grease. Who isn’t familiar with the 1959 story of young summer love at the beach, an awkward reunion in mixed social groups in high school, and the ultimate makeover to help that teenage love survive?

Midvale Main Street Theatre has stepped into a nostalgic show and era to bring audiences a decades-long fan-favorite. Interestingly enough, they combine elements of the original Broadway version, the movie, and the subsequent Broadway revival to create a version of Grease they feel those who favor any of those productions will enjoy.

We are introduced to the entire cast with a rousing, full-cast belted version of the Frankie Valli hit, “Grease.” In true Jersey-boy Valli style, as each of the characters begins to speak, Jersey accents pop out, although not consistently within each character or the group as a whole. I never thought of Grease as being located in New Jersey instead of Chicago (Broadway) or California (movie), but they have beaches there, so why not make a new directing decision for a fresh feel?

Midvale Main Street’s facility is an intimate space, which can lend itself to innovative staging and the use of multiple levels for scene blocking and choreography. The cast does run into some challenges when taller members, such as Seth Tippetts as Danny Zuko, are dancing or staged on the upper level, cutting off their heads from the audience point of view and the lighting leaves them in the shadows. Even our leading lady was entirely shadowed on her upper half during, “Raining on Prom Night.”

The facility also has acoustics that give the ensemble a great sound, however, they can also overpower the soloists at times. All of the leads were pleasant vocally, yet the most powerful vocals are dispersed in a manner audiences might not expect. The cast also makes a modernized choice to sing most of the solo numbers in a pop-style that veers from the traditional musical theater sound.

Aesthetically, the casting was unique and original, with the director steering away from stereotypes in most characters. Allie Duke’s Sandy, however, is visually the most picture-perfect representation of everything you have ever imagined her to be that you have ever seen. She is Sandy.

The most stand-out scene acting-wise is the Pink Lady sleepover. Dialogue flew naturally between the characters, delivered precisely in such a manner as to create the overwhelming chaos and confusion that culminates in Sandy’s retreat to the bathroom to get sick. As the cherry on top of this scene, Taylor Lawrence gifts us with the adorable highlight of a number- “Freddy My Love.”

As far as costuming goes, the look was colorful and created a lovely picture, yet was more modern-vintage than actual vintage. Most skirts were too short above the knee for the time period and the pants on the males weren’t appropriately cuffed or tailored.   The outfits for the cheerleaders looked to be more like tennis outfits, which may or may not be accurate, but certainly not like anything one might find in a quick Google search of “1959 cheerleaders.”

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In mentioning the cheerleading scene, I also have to point out the inaccuracy of the use of the batons for twirling. The odds that one of the audience members is an expert in the field of baton twirling is slim to none, yet there I sat. Sandy’s baton is the size made for an 8-year old and Patty makes fun of her twirling, yet clearly can’t twirl herself. This does, however, add humor for those in-the-know. Still, I would rather the appearance of a baton be eliminated and the dialogue merely mentioning a baton than to see it executed inaccurately.

Simple and clean are the words to best describe the choreography. You could tell the stronger dancers were holding back. I wish they could have been given more opportunity to shine other than the few counts of 8 in “Greased Lightning” where Todd McRae’s Kenickie busts a move and the dance competition in “Hand Jive” for several other featured performers. Johnny Casino, played by Dallon Thorup, sets the bar for the energy level in “Hand Jive” to which the dancers backing him up need to match his level of spunk, energy, and pizzazz physically – vocally they have those elements.

The best number of the show – with vocals and physical energy matching- is “We Go Together,” leading into intermission. The cast produced a great sound and electricity. Kristina Rene Stone as Jan and Matthew Carter Speer as Roger stole the show in their rendition of “Mooning.” Be forewarned, there is a partial moon at the conclusion of the number, but (see what I did there?) I don’t feel this number can be executed with the hilarity it deserves without this gesture and I laughed more at this scene than any other. One more performer I would kick myself for not mentioning is JJ Bateman as Teen Angel – his vocals were on point and he kept this shtick of a scene alive to keep the audience in giggles the entire number.

Grease is for those long-time lovers of the show. You’ll reminisce as your heart fills with nostalgia, and you will enjoy what the performers at Midvale have to offer. Please note this is an uncensored version, so children under the age of 13 are not the target audience. You can catch the show at Midvale Main Street Theatre July 13^th, 14^th, 16^th, 17^th, and 18^th for evening performances at 7:30pm and a matinee on Saturday at 2pm.   Tickets are $15 – $18 and can be purchased online or at the box office.

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