By David Bayne-Jardine
The milestone musical Grease is a tough one to take on, but this raucous classic seemed light work in the hands of DULOG, Durham’s renowned student musical theatre company. With Michael Nevin and Sarah Johnston in the directors’ chairs, this highly anticipated production lived up to expectations, paying homage to the original film in all its riotous and camp glory. Some very minor hiccups did not detract from this rip-roaring testimony to both the talent of Durham’s student population and the exceptionally high standard of DULOG’s productions.
Kitted out in leather jackets and slicked-back hairdos, the directors’ vision for this play was clear from the get-go: to present 1980s adolescence in all its absurdity and glamour, both mocking and paying tribute to the iconic hierarchy of popularity that governed high-school life. Jocks, nerds and belles-of-the-ball leant into their stereotypes with a campness that was hysterical and almost never overdone.
Nowhere was this more the case than in Max Hildred’s portrayal of Danny, who was suave to the point of hilarity. Hildred’s character glided across the stage with that Travolta-esque fluency, as if every movement were a step in some ongoing dance. His knowing winks to the crowd and obsessive hair grooming perfectly captured the ridiculousness of the musical’s protagonist without compromising his undeniable sense of charm.
All of Grease’s lead roles were brilliant, and backed by an equally impressive ensemble, whose mastery of complex choreography and harmonies left little to be desired. Every chorus member merged seamlessly into the ensemble yet maintained enough individuality to be memorable in their own right. In general, it must be said that the musical side of this production was immensely impressive – there were no points at which the cast lost control of the harmony, and the orchestra was synced with the action on stage to a professional level. From the opening number, the ensemble had the audience sat bolt-upright in their seats with their high-energy, high-calibre choreography. It was abundantly clear that every member of the cast was loving their time on stage.
In the words of the directors, the goal of DULOG’s Grease was also to capture the intensity of teenage life – both ‘the highs and the heartbreaks’. The latter was certainly achieved through some heart-wrenching solo numbers. Mathilda Ketterer as Sandy gave a powerful rendition of ‘Hopelessly Devoted To You’ (a notoriously tricky number), and Talia Tobias’ ‘There Are Worst Things I Could Do’ was nothing short of knock-out.
Indeed, there are many contenders for the star of this show. Despite playing a relatively minor character, Celine Delahaye brought abundant life, hilarity and colour to the stage in every one of Miss Lynch’s scenes. Equally, a word must be said for Lucy Rogers, who played the ever loveable and brilliantly dorky Jan. Whilst some cast members risked over-acting at points, Rogers hit the nail on the head, gathering the most audience laughs by a mile but never over-egging the pudding. Rogers was a delight to watch on stage from start to finish.
However, the real star of DULOG’s Grease would have to be Jobe Hart, who played Danny’s sidekick Kenickie. His solo number ‘Greased Lightning’ was the highlight of the production, perfecting the raucous and infectious energy that makes the track one of the musical’s most iconic numbers. It is not easy to make the overly macho, hip-thrusting choreography of Grease look natural or convincing, yet Hart pulled it off with fluency and ease. When he wasn’t showing off some brilliant dance moves, he was commanding the stage with a confidence and zeal that brought Kenickie to life. Hart’s character was at once intimidating and loveable – a nuanced portrayal that shows a young actor truly in his element. It is only fair to note that there were a few persistent issues with sound in the play. Misadjusted microphone volumes meant that certain characters were more audible than others, which led to some dialogue being obscured or lost. The highly anticipated kiss between Sandy and Danny was also slightly undermined by their mics making contact and picking up each other’s breathing. Nevertheless, none of this detracted significantly from the production. From start to finish Grease was an absolute riot; a testimony to the hard-work and talent of the whole team that put together such a challenging production. Wonderfully camp, entirely absurd and often rather touching, DULOG’s Grease had groove and it certainly had meaning.
Featured Image: DULOG