‘Grease’ is the word!

Production plays at Oakdale theater through May 18

 

BY SAM DESMOD

On Friday, May 2, the CM Performing Arts Center had their opening night performance of the beloved classic musical, “Grease.” Typically opening night is held on a Saturday, but the pre-sales of tickets were so strong that additional performances were added and opening night moved up a day.

“Grease” has been a staple of musical theater, and more broadly speaking the American arts psyche for the nearly 50 years. Its combination of reminiscence and edge speaks to the youth in all of us, no matter how many years back our high school reunions count.

The challenge is with the audience’s fondness of their version of the show and how to carve out a unique interpretation while still engaging the “Grease” of yesteryear.

Director Ronald R. Green, III’s vision was exactly the right mix of nuance and nostalgia to deliver a “Grease” that could hold the history of the show and enlarge the story and dynamism of the characters. Also serving as costume designer, Green’s Grease delicately clothes the characters with the 50s style to be expected, but with textures that create a depth.

In a bold and daring set design by John Mazzarella, the world of Rydell High featured highlights of Archie comics and some 90s sensibilities in the pinks and purples of sets, especially Frenchy’s bedroom which could have been brought in straight from an episode of “Rocco’s Modern Life.” The backdrop of lockers in the school scenes was of particular interest as it gave the vibe of the paradoxically maddening and comforting OCD works of Bauhaus Weimer artist Paul Klee.

Keith Jones’s prop design, especially in Marty’s bedroom where she regales the Pink Ladies of her many conquered beaux, was a treat for the minutiae of theater responsible for creating that immersion that audiences long for.

The magic of Kevin Purdy’s lighting design is abundantly clear as an audience member, but even so in the official pictures of the production where the air of the stage seems transformed by the alternating strong and subtle hues of the lighting scheme.

Choreographer Melissa Rapelje, as always, created dynamic dance scenes, especially in the dance night scene where so many moving parts can be distracting, but Rapelje managed to keep cohesive even with dancers having their moments to breakaway and shine.

Samantha Free as musical director developed rich and lux instrumentals for the actors’ voices to make strong impact on the audiences, especially in the ballad “There Are Worse Things I Could Do.”

Michael Anthony Shapiro as Danny Zuko was equal parts cocky and quiet in his aims to please Sandy and his friends. Shapiro’s dancing is so evocative of the peacock persona John Travolta carved out in 1970s and his voice also managed to have that duality of character, especially in “Summer Nights” where his ending high note was triumphant.

Laila Canelo as Sandy Dumbrowski was the quintessential ingenue whose crooning in “Hopelessly Devoted” was strong and moving. Canelo gives us hints of the bad girl Sandy becomes in controlled comedic rage moments against Julie Stewarts’ caffeinated Patty Simcox, one of which involves assault with pompoms.

Jason Steven Kopp (Kenicke), Patrick Campbell (Sonny LaTierri), Evan Torres (Roger), and Doody (Scott Wysocki) as the T-Birds were wonderful foils, but also great in their own requisite romances. Evan Torres and Shea McMahon as Jan were scene stealers with their awkward but lovable beta couple focused on food and some of the raunchiest dancing in the show. McMahon’s vocal work with the Gilda Radner-like Jan etched the character in the audience’s mind.

Alisha Barsch (Rizzo), Sydnee LaBuda (Marty), and Sarah Minto (Frenchy) were a trifecta of the teen experience, each grappling with their own struggle to find themselves (usually in boys). Barsch’s sophisticated and turmoiled Rizzo made for such strong, soulful ballads.

And in a production filled with teenaged characters, Jennifer Demopoulos as Ms. Lynch was a standout comedic relief especially in her boozy fiasco at the dance and interplay with Thomas H. Anderson’s Vince Fontaine.

“Grease” is a great way for generations of family to connect over the experience of high school and ultimately finding the right gang for yourself.