Grease might be the word, but the script of the stage (and film) musical phenomenon that is Grease is absolute proof of the triumph of style over substance.
The decades-old storyline is shallow despite some attempts to pass it off as a semi-meaningful exploration of perennial teenage social issues.
But the all-age audience at Whangarei Theatre Company's opening of Grease certainly wasn't there to consider the rights or wrongs, social and sexual ethics and etiquette of, for example: a girl ditching her own personality and pretending to be something she's not to appeal to a boy and his dodgy friends; a teenage pregnancy scare that is forgotten as lightly as it arrived; an aging radio jock preying on high school girls; hooligans spending nights out stealing car parts.
No. The audience was there to have a good time, and WTC's cast of dozens gave it to them. As it does every time, the infectious brew that is Grease floated above any critique of its, er, character.
Director Gayle Dowsett manages to keep the characters from being mere caricatures, usually a challenge in a sea of stereotypes. Another is to keep things steaming ahead and Dowsett has ably steered the cast into a camped-up, full-on, uncompromising production.
Even with a script and song list with enough pace, action and dance to cover any weaknesses, this production's strong and engaging chorus and routines are notable. Voice coach Rhianon Hoy, musical director Ray Palmer and choreographer Grant Smith can all take a bow, as can the stage manager and set designer.
Kerikeri High School student Justin Rogers, playing Danny Zuko, endearingly balanced the pathos and macho sides of the character who hangs with the bad kids but, much to their disgust, falls for a good girl, Sandy Dumbrowski. Laine Monkhouse plays prissy Sandy as wholesomely as apple pie, but doesn't quite make the transition to the dark side. Her pretty voice and physical restraint can carry the forlorn ballads of good-Sandy, but not the lustier song and dance demands of the new Sandy.
The plum roles in Grease have always been the sub-leads, T-birds gang member Kenickie Murdock and Pink Lady doyen Betty Rizzo - and here Tane Davis and Michelle Huertas are stars. Davis and Huertas give mature and brave performances, and ooze sex appeal, sass and savvy.
Carrying off American accents can be a trap for young players, at times the attempt winning over audible diction. Hopefully that and inconsistent volume are improved.
Had there been lapses in energy and commitment from the main cast, fantastic chorus and orchestra, the show might well have been carried by the audience's sheer enthusiasm.
Over 20 years after a previous production of Grease in Whangarei, WTC has produced another memorable musical theatre event. This production, - bringing together the talents of many young people and experienced theatre practitioners, deserves to be seen and celebrated. It ramps it up and packs it in to the very end - and what an incredibly high-octane end it is.