“You better shape up”, studs, because there’s nothing like the clique which sings atop of greased lightin’ and gives you a lesson on how to rock the slick, leather look and the obligatory pink jacket. Directed by Luke Joslin, Grease the Musical opened at the Capitol Theatre on April 2, delivering an electrifying production showcasing the youth subculture of teenage angst and romance in the 1950s. Wearing my checkered dress and seeing other audience members wearing Grease inspired costumes, it was clear we all bought into the world of Rydell High School. The retro-style credits and advertisements prior to the show helped immerse us further, in an ambience not dissimilar to the Manhattan Superbowl in Mascot.
While I would have liked the show to “tell me more, tell me more” and take greater creative liberties with the source material, I understand the prioritisation of recapturing the essence of what makes Grease so enticing for modern audiences — the nostalgia. From the moment “Grease is the word” began, the audience’s whoops and cheers matched the spirited dedication of the cast.
Across every production of Grease, “sexy is the word” to say the least. The narrative manages to revolve around sex and heterosexuality, as communicated through euphemisms. As such, the Madonna-whore complex is a key premise as seen with the dichotomy between Sandy Dumbrowski and Betty Rizzo. Rizzo tells Sandy “you’re looking too pure to be pink!”, recognising Sandy’s inexperience in a scene where peers can both desire and shame her. In contrast, the male characters casually talk about sex as a conquest referring to a “big bang bigger than the bang” and asking if “she put up a fight.” This manifestation of misogyny only confirms that Grease is not just “the word” but the world.
The large cast and number of songs run the risk of rendering its characters as caricatures, yet each of their performances remain enjoyable. Annelise Hall as Sandy Dumbrowski brings forth a majestic voice, particularly spotlighted in “Summer Nights” and “Hopelessly Devoted to You”. Of course, one cannot mention Sandy and not pay tribute to Olivia Newton-John, whose iconic performance will always be omnipresent, especially given the show is on Newton-John’s home soil.
While the posters and marketing centre Sandy, this does not always translate to the show itself. In fact, it sometimes felt like Danny and the T-birds gang, as well as the Pink Ladies were featured more prominently. It is not Hall’s fault as the role of Sandy has historically been underwritten, with Newton-John’s magnetism overpowering the role itself. Grease has always been about the perception of Sandy as the good girl in relation to everyone else’s ‘rebellious’ ways. Instead, Sandy features more heavily in conversations about her and songs like “Look at me, I’m Sandra Dee”.
Danny Zuko (Joseph Spanti) and Kenickie (Keanu Gonzalez) lead “Greased Lightnin’” with infinite gusto and machismo. I finally could see why ‘sexy is the word’ after this musical number. It was easily the best song of the night, and even my mum commented amidst the thundering applause, “that was really good”. All throughout, both actors were able to oscillate between their vulnerable side only visible when with their romantic interests, without compromising their bad boy status. Two examples I can think of are when Danny gets flustered after sweetly leaning against Sandy’s forehead in the presence of his gang, and Kenickie’s muted joy upon receiving news that his ‘situationship’ might be pregnant.
Mackenzie Dunn as Rizzo easily walks away with scene stealer of the night with her hilarious and blunt one-liners — she’s got the rizz! Dunn delivered a powerhouse in “There are worse things I could do” which reinjected the second act with the much-needed moment of reclamation and emotional revelation. The audience reaction to this song can only be described as unanimous adoration. Other memorable renditions and performances include but not limited to Jan (Caitlin Spears), Roger (Andy Seymour), Frenchie (Catty Hamilton), and Sonny (Harry Targett), especially in his solo/guitar number.
Patty Newton as Miss Lynch and Marcia Hines as Teen Angel, both entered to rapturous applause. Newton was effortlessly funny, and Hines was a true godmother with her unparalleled stage presence. Jay Laga’aia as radio announcer Vince Fontaine was charismatic in his limited stage-time, but retaining that throwaway moment where Fontaine flirts with a student was a letdown. It wasn’t funny then, and it still isn’t, even as audiences recognise that behaviour for what it is.
To quote Sandy, “to my heart, I must be true.” Here, I must acknowledge that Grease Live! (2016) was better able to sustain a contemporary take on the casualised sexism, homophobia, fatphobia, and the attempted sexual assault between the couple we are meant to be rooting for. In fact, there is a lot to sit and unpack, given how much of it is played off for laughs, but I understand the difficulty in balancing that with the comedy.

A snapshot of the gorgeous costume design from the souvenir program.
The technical aspect of the production was absolutely incredible from Trudy Dalgleish’s colourful but not blinding lighting, to Dave Skelton’s exquisite music supervision and direction. The zestful choreography by Eric Giancola was a definitive highlight of the entire show, and had everyone talking afterwards.
Major props (literally) to James Browne’s immersive production and costume design. The costumes were to die-for, with the quality of the fabrics and designs visible from our seats. As for the production design, it brought the Americana aesthetic down under with neon signage, rotating stage with bleachers, and giant letters spelling Rydell High as well as the Burger Palace. As someone with stage managing experience, I would also like to shout out the stage managers who seamlessly moved the giant set pieces and made the show what it is. Thank you for your work.
It’s safe to say that “You’re the one that I want” is one of the most anticipated sequences of Grease. While the lead performances brought all the sensuality, the journey to this moment was quite sudden. Sandy’s transformation felt rushed following one conversation with Rizzo and did not feel as earned. This was quickly forgotten when the cast returned for an encore with a medley of the best songs. The seats folded as the entire audience was up on their feet, embracing the final opportunity to party like it’s 1950.
A low-quality snippet filmed during the encore and not the actual performance.
All-in-all, the Australian tour has continued the tradition of providing us with a memorable atmosphere through its shiny veneer of immortalised songs and gyrating dance numbers. Grease remains a guilty pleasure where the audience is transported to the 1950s, in every sense of the word. While we are able to live out the “summer nights” that we may or may not have experienced, I found myself willingly overlooking the “automatic…systematic” and problematic behaviour that is still visible in the original narrative and wider society.
Grease the Musical is playing until June 1 at the Capitol Theatre. You can purchase tickets here.
Olivia Newton-John’s Foundation Fund: Beyond Cancer was featured in the souvenir program. Visit this website for more information on their work or to donate.