Broadway has been invaded in this age of reality-driven television--the anyone-can-be-a-star obsession.
In 2007, a new concept emerged: Broadway audition as reality competition. Under the watchful eye of director Kathleen Marshall, aspiring wannabes competed on national television to win the leads in a Broadway revival of "Grease." More than 90 million people tuned in to NBC's reality TV series, "You're the One That I Want," to pick the next Danny and Sandy.
That said, you're not going to see those winners in Seattle, where the touring production is currently running. You may not even see the scheduled performers. Emily Padgett, who plays Sandy, was injured in a rehearsal, and on opening night, her understudy had to go on for her in Act Two of the performance.
Billed as "the original high school musical, this latest revival tries to breath new life into a creaky pop classic. It doesn't quite succeed. At least not for the veteran theatergoer. Let's face it. Many musical theater buffs are burned out on "Grease." They think it's been seen too many times too many places, including the stages of countless community theaters. After all, it debuted on the Great White Way back in 1972, and then was followed by the popular 1978 film version starring John Travolta and Olivia Newton-John and had a Broadway revival in 1994.
But for nostalgia and for retro romp, "Grease" still entertains. It's not brilliant. It's not profound. It's not glorious. It's just fun. Plus this production is loaded with high-octane dance moves.
Set in 1959, the new girl at Rydell High, goody-two-shoes Sandy Dumbrowski (Emily Padgett), goes from pretty to pretty hot when she drops her fluffy virginal crinolines for the skin-tight look. And '50s-high-school hood/hunk Danny Zuko (Eric Schneider) makes the rock 'n' roll musical moves on her, while the Pink Ladies titter and the T-Birds look for trouble.
If you want to bond with your grandmother, "Grease" is definitely for you. Find out how she shook her booty way back when.
What seemed wicked in the 1950s now in this post-Columbine era looks as innocent as Dairy Queen and Root Beer. Think back to souped-up hotrods, poodle skirts, pajama parties, ice cream joints, drive-ins and drag races.
Good boys had crew cuts. Bad Boys had ducktails. Good girls kissed and didn't tell. Bad girls kissed and their boyfriends told. And everybody was scandalized by anybody "going all the way."
Despite the neon lighting and bright colored sets and costumes, there are few, if any, surprises in this production. The performers sing and dance well, but ultimately they lack that special spark that should ignite their characters.
The score mixes tunes from the original Broadway show with songs from the 1978 film. There are some entertaining ensemble numbers, including "Greased Lightning," "Born to Hand Jive" and "You're the One That I Want." Audiences look forward to Sandy's big solo, "Hopelessly Devoted to You" and Rizzo's belting confessional, "There Are Worse Things I Could Do."
Another favorite, "Beauty School Dropout," features a cameo performance the by 2006 American Idol, Taylor Hicks, as the Teen Angel. He descends from a giant ice cream cone and sings his advice to dropout Frenchy.
Hicks struts his southern charm. As an Idol winner, his star has been a bit slow to rise after winning the competition. But he's so likeable. And he's big box office, allegedly worth upwards to $150,000 a week in ticket sales. (By the way, don't rush out of the theater after the show's finale. Hicks encores with a sampling from his new album.)
Other notable performances include Kate Morgan Chadwick as the dizzy dropout, Frenchy, and Dominic Fortuna as the sleazy rock-jock Vince Fontaine.
Maybe this new casting concept will entice new audiences to go to the theater, but let's hope Broadway with it' own unique magic is not taken over by reality TV. It's fine for "Grease." It might not work for "Death of a Salesman."
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