Lively ‘Grease’ Is a Time, Place and Feeling at Stages St. Louis

Lively ‘Grease’ Is a Time, Place and Feeling at Stages St. Louis

By Lynn Venhaus
Managing Editor
“Grease” may be the word, but I have one for the Stages St. Louis production:
Vivacious!

This funny and nostalgia look at 1950s teenagers and the
decade’s burgeoning rock and roll culture bursts with ebullient performers who
deliver the beloved songs with panache.

Those songs never get old. “Summer Nights,” “We Go
Together,” “Greased Lightning,” “Born to Hand Jive” and “You’re the One That I
Want” are among the catchy show tunes in the style of Buddy Holly, Little
Richard and Elvis Presley that entice sing-a-longs. (And eager audiences are
ready).
Integrated with the snazzy dance numbers choreographed by Tony Gonzalez, and
costumes to match, they capture the look and sound of a bygone era — but also
a universal feeling.

And certainly not that we were all the cool kids. Far from
it.

By now, the worldwide smash hit is as familiar as your
senior year in high school. So why do people return over and over to watch high
school shenanigans?

Photo by ProPhotoSTL“Alone at the Drive-In Movie,” “Beauty School Dropout,” “Those
Magic Feelings” and “It’s Raining on Prom Night” touch on all the fretting that
comes with being a teen, no matter what generation.

Maybe it’s that sense of trying to fit in, to belong. That
underneath that tough T-Birds exterior are guys desperate to figure it out —
masking those insecurities (on display so well in James Dean’s “Rebel Without a
Cause”). And the Pink Ladies really wanting to be Gidget, but not letting on
they are afraid they don’t measure up.

On the surface, it is all fun times, that sweet flush of
youth during a more innocent time – but dealing with grown-up issues AND
hormones.

“Greaser” Danny Zuko (Sam Harvey) fancies “good girl” Sandy Dumbrowski (Summerisa Bell Stevens) one summer, and lo and behold, she transfers to his public high school, not the Catholic one. Whoa. Kind Frenchy (Lucy Moon) invites Sandy to hang out with the Pink Ladies, but rough-and-tough Rizzo (Morgan Cowling) is not nice to the new girl. Rizzo has her own issues with boyfriend Kenickie (Jesse Corbin), but school isn’t a high priority with anyone except  Patty Simcox (Aisling Halpin) and nerd Eugene (Brad Frenette).                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                            “Grease” is a cultural phenomenon nearly 50 years old — and has been revised multiple times, with the most significant changes made in the 1978 movie, then adopted for a 1993 London stage version, which incorporated four chart-topping songs from the movie written by Barry Alan Gibb, John Farrar, Louis St. Louis and Scott Simon. This is the version Stages has the rights to, and it makes a difference.

You would not much recognize the original 1971 stage version,
which has been sanitized from Jim Jacobs’ and Warren Casey’s initial effort
about working-class high schoolers in a Polish part of Chicago, based on
Jacobs’ alma mater in Cicero.

Photo by ProPhotoSTLThe duck-tailed, hot-rodding Class of 1959 of Rydell High
resembled those ruffians, and the gum-snapping and hip-shaking Pink Ladies were
a combination of bad and mean girls. The raunchier version has been toned down,
but there are still the themes of peer pressure, teen pregnancy, gangs, class
conflict, and good old garden-variety teen rebellion.
This cast, with a few who have been out of high school for some time, seem to
gel well. They sure can shake, rattle and roll in their musical numbers, and
exaggerate their characters for comic effect. Their school and home scenes,
under Michael Hamilton’s smooth direction, delve deeper into social
interaction, with different conversations and motives at play.

While it’s obvious the cast is older, “Grease” isn’t a
production that hinges on authenticity. Just go with the fantasy.

(After all, back in my day, most of these people would have
been considered juvenile delinquents, not people to emulate. And changing into
a sexy siren to get a guy? Oh dear. When would that fly today?)
“Grease” did not become a massive hit because everyone’s enamored with
hooligans. The modest musical parodying the 1950s had an eight-year run on
Broadway and two popular revivals in 1994 and 2007, plus the movie is the no. 1
movie musical of all-time, not to mention all the productions in schools,
regional and community theater.
People can identify with awkward adolescence and ‘types’ – if you don’t
recognize yourself, you know others who do. The supporting cast is appealing,
particularly Patrick Mobley as shy Doody, eager to be a chick magnet with his
guitar, and merry Brooke Shapiro as Jan, desperate to have a beau.

Photo by ProPhotoSTL

Moon is terrific as Frenchy, and “Beauty School Dropout” is
one of this show’s highlights, in staging, choreography and costumes. Showing
off her powerful pipes, Kendra Lynn Lucas is a showstopper as the Teen Angel.
She also doubles as Miss Lynch, but in a rather confusing development is flirty
with students.

Steve Isom evokes those early rock ‘n roll disc jockeys in
his on-air patter and hosting dance contest duties as Vince Fontaine.

Julia Johanos is admirable as a stylish Marty, who acts worldly
older on purpose, while Collin O’Connor is amusing as Roger of ‘Mooning” fame.
Frankie Thams tries to be a rowdy Sonny.

Summerisa Bell Stevens is a radiant Sandy, and after
impressive turns as Sophie in “Mamma Mia” and Doralee in “9 to 5,” she
demonstrates her vocal talents once again. She is at her best with “Hopelessly
Devoted to You.”
I didn’t feel the pairings of Danny and Sandy and of Kenickie and Rizzo were
all that convincing, but their singing and dancing skills were dandy. Harvey
did a nice job with the ballad “Sandy,” and as much as Rizzo’s mean-spirited
“Look at Me, I’m Sandra Dee” annoys me, her “There Are Worse Things I Can Do”
was fine.

The rest of the energetic ensemble includes Bryan Purvis as Peggy-Sue, Madison Tinder as Doreen, Matthew Weidenbener as Frankie, Erik Keiser as Junior, Zach Trimmer as Johnny Casino and Tiger Brown as that fleet-footed Cha-Cha Di Gregorio. Lisa Campbell Albert did her usual stellar job as musical director, with orchestral arrangements by Stuart M. Elmore.

The cast certainly looks the part in their stunning vintage
outfits, tailored to perfection by resident costume designer Brad Musgrove and
his crew. His choice of fabrics is spot-on and he has created looks that could
be straight out of the movies “Pillow Talk” and “A Summer Place,” or McCall’s
magazine, complete with bobby sox and saddle shoes.

Scenic Designer James Wolk makes interesting use of the
space with two staircases so that transitions are smooth, and he has built a
car – a red convertible that serves its purpose. He had me at hi-fi and 45s. Sean
M. Savoie’s lighting design enhances it beautifully.

This “Grease” does what it’s supposed to do – present a time, a place and a feeling, and as a bonus, has the groove and meaning audiences want.

Stages St. Louis presents “Grease” through Aug. 18. Many shows are sell-outs but tickets are available Aug. 13, 14 and 18. For more information or tickets, visit www.stagesstlouis.org

Performers Light Up Stages’ Exuberant ‘The Boy from Oz’

Performers Light Up Stages’ Exuberant ‘The Boy from Oz’

By Lynn Venhaus
Managing Editor
Although Peter Allen did not get a Hollywood ending, his remarkable true-life
story of how he skyrocketed to fame through sheer talent, drive and his
ebullient personality deserves a splashy musical as good as Stages St. Louis production.

“The Boy from Oz” is the kind of glitzy material that the
company has excelled at for 33 seasons, their intimate stage a canvas for
crowd-pleasing flashy numbers and lavish costumes, with added poignancy that
tugs at our heartstrings. Allen died of AIDS-related throat cancer in 1992; he
was 48.

You may not recognize the name, but you have heard Allen’s
songs, and this show reminds us of his catchy pop hits and power ballads, which
he often wrote for other artists (Olivia Newton-John, Melissa Manchester, Rita
Coolidge).

The Stages production is the Midwest premiere of this rarely
produced musical, although Hugh Jackman won a Tony in 2004 for Leading Actor in
a Musical in the first Australian production ever mounted on Broadway.

Born in a small bush town, Aussie Allen became one of the greatest showmen of the 1970s and ‘80s, and in the title role, David Elder makes him unforgettable. With his charming smile and boundless energy, Elder glides into the role with ease – singing and dancing with oodles of pizzazz, from tender love songs to the era’s disco beats.

Elder’s bravura performance is a stunning display of sass, class and Energizer Bunny motion. Winning over the crowd from his first appearance as the adult Peter, he dynamically captures the life force that Allen was, daring to say: ‘I am who I am, and you can’t ignore or stop me.’ It’s one of the most muscular and joyous lead performances of the year.

As Allen’s fame grew, he was a regular on the talk show
circuit, brightening up those couches, often wearing his trademark Hawaiian
shirts. I recall how genuine he seemed as an entertainer, although extremely
flamboyant – he clearly loved the glamour of showbiz, opened at Carnegie Hall,
danced with the Rockettes at Radio City Music Hall and sang on the Academy
Awards.

This musical, with a snappy book by Martin Sherman and Nick
Enright, emphasizes his life as tailor-made rags-to-riches name-in-lights legend.
The cheeky wit is endearing as Elder narrates Allen’s first-person story.

To chronicle his life, original producers Ben Gannon and Robert
Fox used Allen’s own music and lyrics: “Best That You Can Do” (1981 Oscar
winning song known as “Arthur’s Theme” co-written with Burt Bacharach, Carole
Bayer Sager and Christopher Cross), “I’d Rather Leave While I’m in Love,”
“Everything Old is New Again,” “Love Don’t Need a Reason,” “I Honestly Love
You” and “Don’t Cry Out Loud” among them.

Corinne Melancon and David Elder. Photo by Peter Wochniak“Not the Boy Next Door” turns out to be a fun number between
mother and son. Reliable veteran Corinne Melancon, who seemingly can play any
kind of role, from the pious Mother Superior in “Sister Act” to strong-willed
single mother Donna Sheridan in “Mamma Mia!” during her frequent summers at
Stages, provides affection and pride as Peter’s mother Marion Woolnough, strong
in voice and characterization.

And it’s not just Elder who is sensational, but two debuts are noteworthy. While his Allen interpretation is a slow build – I mean, he doesn’t start at 11, Michele Ragusa is an astonishing Judy Garland, feisty right out of the gate, quickly becoming a patron favorite and stealing the show with her well-timed quips, mannerisms and powerful vocals. Garland’s husband, Mark Herron, discovered Allen in of all places, Hong Kong.

Ragusa soars in “All I Wanted Was the Dream” and “Don’t
Wish Too Hard,” and the moving “Quiet Please, There’s a Lady on Stage” with
Elder.

Garland’s daughter and his future wife, Liza Minnelli, is played with panache by Caitlyn Caughell. She assumed the role after Sarah Ellis (St. Louis Theater Circle nominee as Laurie in “Oklahoma!”) was injured and needed surgery.

She portrays the right mix of bravado and vulnerability as Liza embarks on her own celebrated career, shows her mettle in “Come Save Me” and “She Loves to Hear the Music” with the ensemble. The couple, who divorced after seven years of marriage, remained friends for life, and Elder and Caughell convey that bond.

Michele Ragusa as Judy GarlandZach Trimmer portrays Peter’s longtime love, Texas model
Greg Connell, who died of an AIDS-related illness in 1984. He’s not a warm and
fuzzy character, so their relationship appears to have some holes in the
retelling. The pair share two affecting duets, “If You Were Wondering” and “Love
Don’t Need a Reason.”

Two boys, Ben Iken and Simon Desilets, alternate playing an
eager young Peter, who just wants to entertain, singing and dancing for small
change. Versatile mainstage mainstay Erik Keiser excels as Peter’s first
singing partner, Chris Bell, in their “brother act,” first appearing on
Australian Bandstand as The Allen Brothers. They would have a successful
touring cabaret act and appear on TV.

As is customary at Stages, Steve Isom plays several roles,
from Peter’s abusive alcoholic dad Dick Woolnough to his brusque manager Dee
Anthony.

The ensemble is as energetic and enthusiastic as Elder is,
and their showstopping grand finale, the 1976 salsa-flavored disco hit, “I Go
to Rio,” is a rousing number in which dancers make quite an entrance in Brad
Musgrove’s elaborate sequined costumes. Musgrove, who never met a sequin he
didn’t like, outdoes the Follies here in spectacular shiny silver-and-white outfits.
The costumes received their own applause, as did Dana Lewis’ robust choreography.

James Wolk’s scenic design is straightforward, allowing the
music numbers to be the focus, and there is a lovely nighttime New York skyline
through an apartment picture window. Sean M. Savoie’s brightly colored lighting
design complements Wolk’s set beautifully.

Director Michael Hamilton emphasizes the vivacious side of Peter while not forgetting the sorrow. He crisply stages the Judy-Peter-Mark-Chris number “Only an Older Woman” with as much oomph as he does with the exuberant ensemble numbers “Sure Thing Baby” at the Copacabana and “When I Get My Name in Lights.” Stuart Elmore’s orchestrations work well, while music director Lisa Campbell Albert varies the tempo to suit each singer.

“Caught between the moon and New York City” will always
define Allen for me. It’s just one of those phrases that you’ll always remember
with a smile, especially if you have fallen in love with the city like he did. And
he’s impossible to forget after seeing his story, “The Boy from Oz.”

David Elder and Ben Iken as old and young Peter AllenStages St. Louis presents “The Boy from Oz” May
31-June 30 at the Robert G. Reim Theatre in the Kirkwood Community Center, 111
S. Geyer Road, St. Louis, 63122. For more information or to purchase tickets,
visit www.StagesStLouis.org or
call 314-821-2407.