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

Stages St. Louis’ Frisky, Fun ‘Mamma Mia!’ Irresistible

Stages St. Louis’ Frisky, Fun ‘Mamma Mia!’ Irresistible

By Lynn Venhaus
Managing Editor
“Mamma Mia!” – take me away! Stages St. Louis’ high-spirited production is a ticket to pure escapism, a refreshing summer confection that’s a welcome respite from real-world troubles.
What makes this version of the jukebox musical irresistible is the intimate staging at the Robert G. Reim Theatre and an exuberant ensemble whose joy is infectious. Under Michael Hamilton’s animated direction, they are having such a blast that it’s easy to be drawn into their merrymaking. The joint was jumping!
Don’t think too hard about the story’s timeline or do any math about the ages – for this fantasy is critic-proof and one must suspend belief. For supreme enjoyment, be on board for mindless fun when you take your seat, and if you are not singing, dancing or clapping in time during the festive curtain call, check your pulse.
The 1999 smash hit, now the ninth longest-running Broadway musical of all-time, cleverly weaves 1970s hit songs by Swedish pop group ABBA into a lightweight romantic comedy about a former singer and her soon-to-be-married daughter. It may be far-fetched, but it works – hence, the global phenomenon.
Sophie, 20, is obsessed with the looming question of who’s her father, so she invites the maybe-dads Australian adventurer Bill, stuffed-shirt British banker Harry and divorced American architect Sam. They all show up. At the same time.

Donna Sheridan’s bandmates Tanya and Rosie, aka The Dynamos, also arrive at her Greek island taverna. This reunion combo leads to a splendid “Dancing Queen” and “Super Trooper,” and a sweet “Chiquitita,” with all three strong-voiced actresses Corinne Melancon (Donna), Dan’yelle Williamson (Rosie) and Dana Winkle (Tanya) in robust harmony.
Book writer Catherine Johnson has injected plenty of light-hearted humor into what ultimately is a heartwarming celebration of family, friends and women empowerment, all played out on a tiny slice of paradise.
In a fresh and dynamic way, the creative team has emphasized the everlasting charm that makes the show so popular, and the ensemble projects a carefree day-at-the-beach mentality. Stages’ has concentrated on the characters’ feelings, which aids the believability of their connections.
Tony Gonzalez’ buoyant choreography is a highlight, with “Lay All Your Love on Me” featuring a unique tap-dance in snorkeling fins that prompted hearty applause.
He maintained the effusive party atmosphere in “Voulez-Vous” and “Gimme Gimme Gimme,” where the chorus shines.
The technical elements came together in such a pleasurable way that it truly enhanced the experience.
Ah, the sun-drenched days and starry nights are beautifully captured by Sean M. Savoie’s lighting design, with James Wolk’s scenic design adding a moon that moves. The taverna’s balcony is a smart addition for a stressed-out Donna and wistful musical numbers.
Resident costume designer Brad Musgrove’s penchant for glitz gets a workout here, and the colorful eye-candy costumes pop. He outdoes fashion designer Bob Mackie for the razzle-dazzle finale, and noteworthy are the ensemble’s bright and flamboyant wedding attire. With the show set in 1999, I don’t think the outfits entirely reflected that period, but rather spotlighted a spirit of adventure.

The entire cast must be an integral component for this story to succeed, and this group is one of the finest I’ve seen. Music director Lisa Campbell Albert kept up a kicky pace for the singers, and oh, is it a tight chorus, not to mention the consummate professionalism of the principals. Stuart M. Elmore’s orchestral designs are on point.
I was surprised to find out that some patrons had never seen it before – and their joy of discovery was palpable. Fortunately, they experienced an outstanding show as their first time.
Corinne Melancon has become a versatile leading lady at Stages, capable of genuine conviction. She is an experienced Donna – she played the role as part of the 11 years she spent in the Broadway cast, and was also the other two Dynamos. She appeared to really love portraying this woman.
With all that experience, she could have coasted, but is fully engaged as a woman wrestling with a lot of pent-up feelings and frustrations. She brings a gravitas to the single mom who is a struggling businesswoman too.
She excels in a well-staged “Money, Money, Money” and the title song, but knocks “The Winner Takes It All” out of the auditorium.
In a superb “S.O.S.,” she beautifully blends with Gregg Goodbrod’s Sam, the love-of-her-life she scorned in 1979. Goodbrod is a strong Sam in acting and his solo “Knowing Me, Knowing You.” Nice to see him back in St. Louis after playing J.J. in “The Unsinkable Molly Brown” last summer at The Muny.
As the sultry Tanya, statuesque Dana Winkle, who was recently in the national tour of the elegant “An American in Paris,” shows off her slick dance moves in a cheeky “Does Your Mother Know.”
In a departure from the character’s typically frumpy appearance, sassy Rosie is portrayed by striking Dan’yelle Williamson, memorable as Dolores in “Sister Act” two summers ago. She’s convincing as a fierce determined woman and playful in “Take a Chance of Me.”
But Summerisa Bell Stevens as wide-eyed innocent Sophie just might be this show’s secret weapon. She’s one of the best Sophies I have ever seen – a total package who projects an innate sunniness and intelligence. So terrific as Doralee in last year’s “9 to 5,” she practically glows in “I Have a Dream,” “Honey, Honey,” and “Thank You for the Music.”
At first, David Sajewich seemed too old as Sky, but he and Stevens had so much chemistry, that it didn’t distract.
Reliable veterans Steve Isom and David Schmittou play Bill and Harry with their customary skill and crisp comic timing. They both nail their accents – Australian for Isom and British for Schmittou — and are admirably steady throughout, good sports in the dancing numbers.
The ensemble was noteworthy in the effective blacklight dream sequence “Under Attack,” which was thankfully not as silly as usual.
Of course, everyone does their part to raise the roof in the pull-out-all-the-stops finale, and when they come to “Waterloo,” no one wants this party to end.
I’m an unabashed fan of this musical – and it was my eighth time during the past 15 years. I compare it to the warm nostalgia of a “Gidget” movie from my youth. And yes, I cheerfully sang every word to “Dancing Queen” and “Mamma Mia!” at the curtain call – the audience is encouraged to do so (and I warned my neighbors to the right and left).
While it doesn’t matter if you have seen either the first or second movie, after viewing the just-released prequel-sequel, I did like that it shed more light on the backstory and motivations, so I thought of those things while watching this original show that sparked it all.
“Mamma Mia!” has sincere sentiment and its whole lotta fun vibe uplifted everyone. This production is one I’m not going to forget.
Stages St. Louis presents “Mamma Mia!” from July 20 through Aug. 19 at the Robert G. Reim Theatre in the Kirkwood Community Center, 111 S. Geyer Ave. For more information or to purchase tickets, call 314-821-2407 or visit: www.stagesstlouis.org. At least 18 shows are sold-out.Photos by Peter Wochniak