Review of ‘Grease, The Immersive Movie Musical’: “There are worse things they could do, but also better”

The timeless film classic returns to the London scene in a new 360-degree adaptation, plunging audiences into its universe. Guillermo Nazara shares his views on the show — to let us know if this latest format of the beloved musical is a must-do (doo-doo-doo-doo) of the season.

We might not need a pompadour-haired, Ibizan-dressed divinity roasting the creators of this show into going back to high school — in all fairness, the one they’ve risen in the middle of Battersea Park probably has a more compelling curriculum than most of the rest in current education. But despite the beauty that its impressive theming and an overall competent cast bring to the stage, the way this product comes across is nothing short of an “immersive experience dropout”.

If you’re familiar with the Secret Cinema legacy, you’re aware of what you’re coming for when a new title joins their roster. Under the not-unheard-of premise of taking audiences inside a film, their productions deliver a verbatim reenactment of the source material within an intricately designed set.

It may sound enticing. And to be honest, I’ve been elated with anticipation since I attended the show’s media call event — awaiting the chance to witness firsthand the wonders of 360-degree performance, where you could truly feel part of its narrative. Surprisingly, that presentation was a much more satisfactory ride than the bumpy execution viewers underwent throughout last night’s opening.

If you’re the kind of hardcore fan who’s hopelessly devoted to anything Grease, you might still give this show a pass, provided that you proactively seek your fun. However, it’s hard to think how most guests could find this adaptation entertaining. Conceptually, it’s flawed — the idea of having screens all around projecting the film in almost its entirety, like some sort of omnipresent, all-seeing Big Brother controlling the action onstage, where actors have become flesh-and-bone puppets, is off-putting to say the least. Yet, its implementation is even messier.

There’s no question that they’ve gone for a high budget to make its universe come to life. That’s perhaps the only praise we can give to the production, and it shouldn’t be discreet. Visually, it’s staggering. It’s an A-list theme park where attention to detail comes as their brand’s signature. An open-air, functional funfair, with all the famous spots from the iconic finale, welcomes visitors into this journey back to Rydell’s Class of ’59.

Further on, an indoor theatre takes us into the remainder of the story’s setting. A large in-the-round basketball court serves as the main stage, as audiences walk this around black-leather, peroxide-fueled illusion (teens in their 30s excluded), accompanied by faithful recreations of the Frosty Palace, Kenickie’s garage, and a make-out point car explanade for those willing to pay an extra something — it’s just that the tables look like cars, so don’t get too excited.

It’s an exceptional view to be amazed by. And such awe is effectively endured by the addition of some striking staging effects. But that’s about it. For most of the rendition, we can’t help but be overtaken by a growing sensation of boredom, noticeably encouraged at too many moments. Apart from a couple of arresting numbers, there is virtually nothing that can effectively grab our attention and keep us invested.

Half of the performance consists of nothing but a screening of the movie — not the best option if you’re looking for a live experience. In between, reproductions of the most memorable scenes take place, many of which feature either lip-sync or the actors talking and singing over the soundtrack. It feels like an absolute waste of resources, and also of the patrons’ time, who you’ll see talking for long periods while waiting for something to happen.

The use of the space is also heavy-handed, most unfortunately. Venues like the Bridge Theatre have taught us the importance of moving viewers around to preserve the sense of dynamism throughout the show. The problem with this version is that it only serves half of that idea.

The troupe travels all across the set, but in such a disorganised manner it’s arduous to follow through — both physically and narratively. The production’s inability to guide us through prevents us from delving into what’s going on, and, eventually, jeopardises the enjoyment. The room’s gigantic size makes the whole act seem too distant, similar to an overcrowded rock concert where you try to make your way through the masses. Yet, the instant it’s done, so is the number.

The cast does their best to keep the viewers engaged, primarily through amusing bits of interaction, combined with the excellent quality of their dances and generally competent singing. Yet, there’s still a lack of chemistry between the lead roles that compromises the effectiveness of its storytelling — not that the show’s obtuse direction makes it any easier.

Yet, there are some refreshing standouts to acknowledge, with both David Fearn as the Teen Angel and Waylon Jacobs as Vince Fontaine regaling us with superb vocal renditions blended with infectious, playful energy and electrifying presence. Lucy Penrose’s uncanny resemblance to Stockard Channing’s Rizzo is another highlight of the evening, where her staggering characterisation makes every element of her portrayal come (or go) together.

Though triggering a few initial chills through its opulent design and an IP beloved across generations, none of them are likely to multiply in what, ultimately, comes off as a little bit of rain on prom night. Past its flashy facade, this latest incarnation of Grease fails to encapsulate the charm and excitement of its previous forms, let alone the one it attempts to pay homage to. It held so much promise to fill our summer nights with unforgettable memories. But in the end, these are not the ones that you want.

All pictures credit to Danny With A Camera and Luke Dyson.

By Guillermo Nazara