"Grease," show #941

Broadway audiences didn’t know what they had in their midst when a new rock and roll musical, dealing with high school angst, drama, and romance, opened at the Eden Theatre in 1972. Six years later, the iconic film was released, a subsequent sequel, and two more Broadway revivals. When Grease gets done nowadays, it takes a strong vision and harnessing of nostalgia (and assumed nostalgia) for the title and the material to seem urgent, relevant, and applicable. Now, with respect to the Broadway casts of 1972, 1994, and 2007 (and yes, I’ve listened to these albums ad nauseum for years now), I demand a cast recording of Selma Arts Center's Grease; the vocals in this production are unmatched. In fact, when the curtain announcement concluded and the opening downbeat was cued, it was like the needle dropped on the music of Grease for the first time. So, in the style of a record-listening party, I’m dropping the needle on this review, going in track-by-track order. 

(Cast of Grease; Photo source: Selma Arta Center)

"Grease"

The company arrives on stage, in full force, bringing a wall of sound (top-notch vocal direction by Terry Lewis) and I knew I wasn’t watching any ‘ole Grease. I’ve always enjoyed when stage productions include this opening from the film as it sets a tone, an energy, and an expectation: You are about to be treated to a most-entertaining time at the theater.

Miz-Unique Slater’s choreography honors the period with pizazz. Grease is nothing without its movement, and Slater’s staging, in just the opener, is already a feast for the eyes.

(Ellyana Munoz (Patty) and Briston Diffey (Eugene); Promo photo source: Selma Arts Center)

"Alma Mater"

Led by comedically gifted Briston Diffy as Eugene and Ellyana Munoz as Patty Simcox, the two actors give school-spirited vocals to a traditional-sounding alma mater. Supported by a delightfully domineering Sean Torres as Miss Lynch, this trio establishes they’re the comic relief within the musical comedy, and never disappoint.

Enter the Burger Palace Boys and Pink Ladies--being all types of raunchy and ridiculous--and we’ve entered Rydell High in 1959, maintaining the high school-level of energy and immaturity we know teenagers possess. The physicality is always extreme without ever going overboard, often highlighted by a hilarious Justice as Sonny, who is the butt of many of the bits from hereon.

(Jimmy Haynie (Danny) and Catricia Alvarez (Sandy); Promo photo source: Selma Arts Center)

"Summer Nights"

Led by Jimmy Haynie’s confidently grounded Danny and Catricia Alvarez’s sterlingly sweet Sandy, the juxtaposing summaries of beach date days and boardwalk nights show us not just how their characters act in front of their peer groups, but it gives us a glimpse of the love story we're going to see unfold. 

To boot, though, the vocal prowess from Haynie and Alvarez never supersede the chemistry they share, even though they never interact in this hallmark duet.

(Joe Portela (Doody); Promo photo source: Selma Arts Center)

"Those Magic Changes"

Joe Portela leads this song with a glorious tenor, adding the guitar plucking in for good measure. The support from the principals and featured ensemble add the vocal and visual backdrop of Doody having his time to shine as a wanna-be heartthrob rock star, appropriate in this 70’s rock show. 

(And for those who don’t care for Grease (apparently there's a lot of you?) but are fans of shows such as Les Miserables, A Chorus Line, or, dare I say, Cats, let me clear this up for you: they all share the same musical structure. A slew of talented, usually attractive principals step forward and sing a song showing off what they can do. This song begins that exact framing device for its supporting characters. They’re, solved it. Now you love Grease, too!)

"Freddy, My Love"

It’s a slumber party, and innocent Sandy is exposed to the smoking, drinking, and potential body piercing indulgences the Pink Ladies enjoy. While Sandy struggles to hang on to her naivete, Marty gloats about being in correspondence with a marine, complete with kimono and backup vocals. Zanna Wyant delivers this doo-wop, in true female group fashion of the time, with a marvelous belt and vibrato, conveying the yearning she has for Freddy, and complements her vocal work with romantically endearing acting takes and deliveries. Often times you can catch Wyant's Marty giving a glance or take to a comment made by a fellow principal, which informs and adds true high school hilarity without ever mugging or overly chewing the scenery.

(Zanna Wyant (Marty) with Ke'Lea Flowers (Rizzo), Savannah West (Jan), Shelby Manley (Frenchy); Photo source: Selma Arts Center)

"Greased Lightnin’"

High school boys, stereotypically, care about so few things, with cars being one of them. Kenickie rolls up in his wheels, the car he worked all summer to save money for, only to be mocked for its…well…crappiness. Dylan Villanueva Hardcastle leads a terrific “Greased Lightnin’,” with Slater’s choreography honoring the beloved moves from the film while fusing a modern flare that makes it fresh. The company, in support of Hardcastle’s solo, is in stellar sound and execute Slater’s movement to a T.

"Rydell Fight Song"

One of my favorite moments in Summer Session-Plevney’s direction and Slater's choreography (this is a show where directorial concept and choreographic vision must pair well often, which this production does), where a seemingly peppy throwaway tune turns into leaning wholly into what makes Grease so accessible than other shows that depict high schoolers: it nerdifies the cheerleaders and jocks. It gives premise to the fact that cliques and alliances are very real, and stereotypes don’t transcend contexts. Alvarez and Munoz make this scene and song a true rivalry-in-the-making over their fondness for Danny, while Munoz makes the most of her splits. A truly hilarious and very vulnerable scene for Sandy and Patty is handled masterfully, and supports the strong vision Session-Plevney and Slater carry out through this entire production.

(Ellyana Munoz (Patty) and Jimmy Haynie (Danny), with Briston Diffey (Eugene); Photo source: Selma Arts Center)

"Mooning"

Usually a skip-song for me. It’s a song about showing your rump to passersby. But it’s a high school show depicting high school plots, so let's accept it. Toph Ortiz and Savannah West, as Roger and Jan, respectively, have no business making this song a showstopper, but they do, and do so with vocals that go beyond what writers Jim Jacobs and Warren Casey could have dreamt. The hilariously chemistry-inspired staging gives this number the comedic oomph this duet earns.

(Toph Ortiz (Roger) and Savannah West (Jan); Promo photo source: Selma Arts Center)

"Look at Me, I’m Sandra Dee"

Rizzo, played by a commanding, strong Ke’Lea Flowers, shows the funny-mocking side of Flowers’s Rizzo, setting the arc for Sandy to eventually make That Choice which seems to rub so many people the wrong way. (More on that later, where I explain how this production finally showed me why Sandy’s Choice works.)

"We Go Together"

As written, this is perhaps once of the worst ends to an Act One, in that there’s no high-stakes reveal, conflict, or question to bring audiences back for the second act. That said, the song itself makes for a terrific finale on its own. 

You just can’t beat a live band (led by music director Jordan Williams), which has been loud, percussive, and exciting the whole act thus far, and supports a cast that has vocals which, again, belong on a cast album! The sound design, by Ronny Bounthapanya is phenomenal, balancing band and backup vocals with commanding dynamism.

Finessing this finale is Slater’s coupling of principals and formational staging that makes this song pure fun to hear and watch. And, for me, that’s more than enough to get me back after intermission.

(Cast members of Grease; Photo source: Selma Arta Center)

--Now take a potty break, get a pop, and come back when you're ready for the rest--

(Cast members of Grease; Photo source: Selma Arta Center)

"Shakin’ at the High School Hop"

Mirroring the opening, this song is a full-fledged energy machine of a number, complete with splashes of fabulous costumes, designed by Session-Plevney as well. The angst for the dance and anticipation of the dance is palpable and the staging aids this wonderfully.

"It’s Raining on Prom Night"

How do you make a, on paper, boring role, even more boring? Make her sick for the big dance! The role of Sandy, made famous by Olivia Newton-John on film, can be an easy ingenue to get lost in. (I've seen productions where I actually forgot Sandy was a character.) However, to that issue, Alvarez says, “Hold my cardigan!” Alvarez duets with a splendidly voiced Deyzha Gonzales (Radio Voice) for an earnestly delivered lament. It shows a determined side of Sandy, and hope for her romance with Danny to win in the end. It continues her arc as we venture away from her for quite a bit after.

(Cast members of Grease; Photo source: Selma Arta Center)

"Born to Hand-Jive"

The Dance Number. What everyone’s been waiting for, and this number does not disappoint. Slater makes use of the nostalgic hand jive dance combination while adding modern touches and lively formation shifts to give the number the flourish it deserves.

(Avalon Lone (Johnny Casino); Photo source: Selma Arts Center)

Lead vocals are delivered by Avalon Lone as Johnny Casino and introductory narration by a fun Sage Rivera as Vince Fontaine, and they do not disappoint. Lone's charisma and timbre are matching of the rock and roll style with a boost of energy which meets the excitement of the dance. Soular delivers a featured standout performance as Cha-Cha, with dynamite dancing pairing well with full dramatic-diva acting.

(Soular (Cha-Cha), Jimmy Haynie (Danny) and Cast of Grease; Photo source: Selma Arts Center)

"Hopelessly Devoted to You"

The feminine iconic solo, a truly beautiful 'I Want' song placed deep in the show but still works, is executed with flawless vocals and acting by Alvarez. The staging: a cross, a park-and-bark, and a cross, all which makes this number one audiences long to sit in, wrapped in Alvarez’s incredible voice and affecting emotional delivery. 

"Beauty School Dropout"

Deyzha Gonzales returns, now as the Teen Angel, advising Frenchy on her career and school choices. Supported by the fabulous female ensemble, Gonzales leads the soulful number with triumphant vocals and acting, with staging that literally drops the jaw and draws every bit of humor this number offers. 

In reactive support, and a performance that is strong throughout the musical, is Shelby Manley’s Frenchy, who gives calibrated coy and expertly delivered deadpan with every line she gets. As the one who rounds out the Pink Ladies, Manley has a heartfelt kindness that is shown in her interactions with each Pink Lady, adding a layer of heart to this production. 

"Alone at the Drive-in Movie"

It’s Danny’s song torch song, in response to rejection and being walked out on. Haynie’s vocals deliver every beat and note needed to make this lament truly shine. With simple and effective backup by the Burger Palace Boys, this song is a stalwart number for Haynie to showcase the more vulnerable side of Danny while delivering a powerhouse turn vocally. 

"Rock N’Roll Party Queen"

A fun ditty led by Ortiz and Portela and their tight harmonies, the friend groups are hanging out and enjoying some music, libations, and engaging in more drama and antics. It’s a good time, until it’s not!

(Joe Portella (Doody) and Toph Ortiz (Roger); Photo source: Selma Arts Center)

"There Are Worse Things I Can Do"

Ke’Lea Flowers delivers a powerful, potently vulnerable 11 0’clock number, one that is sung at the audience and to Sandy, launching Miss Sandra Dee into the next step of her arc of transformation. But it’s because of Rizzo, because the strongest, toughest character in the show, admitting through “not crying in front of you” is her showing of strength, that her pride will not be compromised no matter what. Flowers delivers on all accounts and, again, has the funding for that cast recording come through yet?

(Ke'Lea Flowers (Rizzo); Promo photo source: Selma Arts Center)

"Look At Me, I’m Sandra Dee (reprise)"

And this is where That Choice is made clear. Musical Theatre 201: reprises, when sung by a different character, not only change the meaning of the lyrics from when it started, but gives a whole new dynamic of character development to both who have sung it.

The fact that Sandy reprises Rizzo’s song right after Rizzo’s torch song of vulnerability gives strength to Sandy’s choice in becoming who she wants to become. Danny doesn’t expect nor has he demanded such a change, he’s accepted his fate for now. And yet, Alvarez gives oomph to the often-throwaway boppy-reprise inviting a makeover. And this moment is when I knew I’d be giving this company a standing ovation come bow time. 

(Catricia Alvarez (Sandy); Promo photo source: Selma Arts Center)

"You’re the One that I Want"

It’s the song audiences want, it’s what they expect, and the company delivers on all fronts. It encompasses the same energy and accuracy of execution the first act numbers had, commanding appreciation for the cast's calibration of energy and locked-in drive it takes to deliver a fully realized performance at this caliber.

"We Go Together (reprise)"

Of course it ends with a flourish, with the cast close to the audience, inviting the claps-along, the bopping of heads, and tapping of feet. It’s a perfect ending to a stellar show.

"Bows"

I stood. I couldn’t help it. This company is delivering a Grease worthy of loud applause, ovations, and appreciation. With assistant direction by Leilauni Guizar and Bri Villanueva Hardcastle, the directing team has provided a Grease that lives up to its reputation and doesn’t shy from being a modern musical written in the past. It doesn't apologize for being Grease; it leans in and is proud of presenting a wholly talented company telling a story of high schoolers dealing with high school issues.

"My End Credits"

Jacob Moon’s hair and makeup design nail the 1959 look with not just flare and period-appropriate respect, but personality and blatant embracing of each performer’s aesthetic, which allows them to standout in a supportive-to-the-overall-vision manner. Christina McCoullum’s scenic design is superb in each locale, making the most of less-is-more while consistently establishing where we are in the story. Jeffrey Purvis’s lighting design is nuanced by upbeat vs. duet calibration and gives a heightened ornamentation to the company numbers. 

Like Broadway audiences in 1972 and movie-goers in 1978, Central Valley audiences in 2026 don’t know how good they have it that Selma Arts Center is running a truly terrific production. Don't be the person that misses out; Grease is the word for a reason, and it's the ticket you need to have!