Staff Writer and Broadcaster, Penelope Spencer-Simpson, reviews King’s Musical Theatre (KMT) production of Grease.
Often, when you think of 1950s America, you imagine the nostalgic ‘golden years’ after the second World War. Grease the musical depicts this experience theatrically; teenagers in the late 1950s exposed to scandal, battling social expectations and embracing the prosperity of the ‘American Dream’.
More so, when this triumphant show was performed by your classmates during the political hellfire of what is contemporary American Politics, it was one to watch tentatively. Ergo, the show was one to escape those dreaded deadlines and reminisce the glamor of the nifty fifties.
From start to finish, the high schoolers of Rydell High demonstrated an array of musical, theatrical and choreographic talent. All hits from the notorious musical featured in the production. The opening of Grease, empowered by synchronised lighting and choreography, transported the audience immediately back in time.
Francesca Fitzsimons, choreographer for Grease, told Roar she had revised the choreography since August 2025. A perfect blend of original choreography and iconic screenplay sequences like the ‘hand jive’, Fitzsimons’ vision brought the energy, retro and scandal to all performances throughout the show. More so, she described making the choreography ‘a fantasy in the show, and a fantasy in [her] mind’, an ambiguous, albeit accurate, description of what the musical evokes.
The performance of ‘Grease Lightning’ made excellent use of stage presence, choreography, lighting and props. The renowned patriarchal performance incorporated a modern-day twist with a mixed-gender routine. Anachronistically, the routine subverts the standards of the ’50s, as why would women be associated with grease and cars? So, it was a breath of fresh air to see how modern standards ushered a different adaption of the scene.
Danny Zucko (Cole Boon) demonstrated the archetypal testosteronic persona of a T-Bird. Though, the personal development of Danny’s character, in order to change for Sandy (Ava Satasi), was executed thoughtfully; from the subtle changes in costume to softer tones and demeanor, the casanoza transformed yearningly. Specifically, Boon’s solo for ‘Sandy’ was a stunning declaration of love. It was clear not only had Danny fallen for his love interest, but Boon had fallen for his character.
Similarly, Satasi portrayed the elegance, gullibility, yet, willingness of Sandy. What made her performance so memorable was her depiction of ‘Hopelessly Devoted to You’. Genuine, rare talent that had mesmerised the audience from the moment she stepped on stage; a beautiful tribute to the late Olivia Newton-John.
Though, her interactions with other characters were what made the show entertaining to watch. The troublesome dynamic with classmate Patty Simcox (Ruby Donaldson) added more tension between Danny and Sandy with Danny’s inferred relations with Patty. Donaldson’s overly preppy and intrusive stage presence made an unloveable character adoring. Nonetheless, their scenes added comedic flare to make the show engaging and the characters complex.
The depth of characters performed were overly impressive. One couple who performed this well was Jan (Annabelle Duggan) and Roger (Malachy Gordon). Often an underrated duo outshined by the protagonists, their bittersweet relationship was unforgettable. The pinnacle of their relationship was in ‘Mooning’. A beautiful, comedic serenade and dance with each other to highlight their innocent and blooming relationship. A perfect yet quirky use of stage presence to show the awkwardness of teenage relationships.
However, stage awareness and prop presence was perceptive and calculated consistently throughout the show. Whether it was a serenade or a dance sequence, the excessive use of space made the show unique. The live-band placement at centre stage, the grease lightning car, and many props to transform the stage were great visual aids and aesthetically pleasing when shifting between scenes.
One of the greatest scenes that transformed the set entirely was ‘Beauty School Dropout’. From the atmospheric, isolating lighting, to the intricate costuming for the Teen Angel (Laurie Madden), it literally brought heaven to earth. Frenchy (Lucy McAllister) displayed the bewilderment of her character eloquently. An angelic combination of choreography and vocals, the pair were a force to be reckoned with.
Comparatively to Rizzo’s (Kylie Freeman) solo of ‘There Are Worse Things I Could Do’, the intentional stage isolation foreshadowed the fate of her character. A raw, vulnerable ballad, excellently expressed by Freeman, hushed the audience and provided greater depth to her character. A promiscuous, insecure, woman transgressing chastity who was a victim of circumstance all along.
A significant contrast to the finale, ‘We go Together’. A Cheerful, hopeful closure to the characters, with brilliant coordination of vocals and choreography. An energetic climax to conclude on a timeless tale that has brought joy for decades.
However, a binary to our world that looks worryingly similar to the fifties is a world pressured by consumer culture, challenged by gender stereotypes and at the onset of conflict. KMT’s production of Grease was a hopelessly devoted triumph for all the cast and crew involved.
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