This production had dual casts in principal roles. In the interest of fairness to all, we reviewed both casts. Terry Mountstephen reviewed Cast 1 and Tegan Gully-Crispe reviewed Cast 2.
Cast 1
Few musicals are as instantly recognisable as Grease. Audiences arrive knowing the songs and the characters, leaving little room for error. Fortunately, Pelican Productions rose to the challenge, delivering an energetic, colourful and polished production that captured the spirit of this much-loved musical.
One of the production’s greatest strengths was the commitment of the entire company. Whether featured in principal roles or ensemble numbers, the performers brought personality, energy and joy to the stage. Strong harmonies, well-executed dance and movement, and believable characterisation combined to create a production that was as enjoyable to watch as it was entertaining.
Patrick Longden impressed as Danny Zuko, striking the right balance between swagger and vulnerability. His vocals were strong throughout, particularly in “Sandy”, and his commitment to character never wavered, even during moments when he was not the focus of the action. Polly Schubert brought warmth and sincerity to Sandy, complemented by a lovely vocal quality and a range well suited to the role. Her rendition of “Hopelessly Devoted to You” was particularly effective, supported beautifully by harmonies from the ensemble.
Charlotte Norman delivered a confident performance as Rizzo, capturing both the character’s sharp wit and underlying vulnerability. She handled “Look at Me, I’m Sandra Dee” with flair before bringing sensitivity and emotion to “There Are Worse Things I Could Do”. Ewan Pugh embodied Kenickie’s confidence and natural leadership, while Annabelle Pearce brought warmth and charm to the role of Frenchy. Kylah Moreno-Santos was a delight as Jan, bringing great personality to the role and creating many enjoyable moments through her natural reactions and characterisation. Kayla Symonds portrayed Marty with poise and sophistication, while Ella Carruthers embraced the ever-cheerful Patty Simcox.
Joel Howis (Doody) impressed with “Those Magic Changes”, a number enhanced by clever staging involving lockers, shadows and a rising scrim. Noah Magourilos (Roger) brought infectious energy to the role, his sense of fun evident throughout the ensemble numbers, while Thomas White delivered Sonny’s comic moments with good timing and interacted naturally with the Burger Palace Boys. Oliver Cenko fully committed to the role of Eugene, adding to the humour of the production, while Tayla Walker made a memorable impression as Cha Cha, bringing considerable stage presence and strong dance ability to the role.
The guest appearance by The 60 Four as the Teen Angels added an entertaining twist to the familiar “Beauty School Dropout” sequence. Their rich harmonies, sparkling jackets and clever division of vocal lines worked well and were well received by the audience.
Director Vanessa Lee Shirley, assisted by Cleo Barker, maintained an excellent pace throughout the evening. Scene changes were swift and cleverly disguised, often incorporating choreography and characterisation that kept the action flowing and ensured the audience remained engaged. As a result, the production never felt as though it dragged, despite the many locations and transitions required.
Musically, the production was in safe hands under the direction of Ben Francis. The harmonies produced by both principals and ensemble were consistently strong. The large ensemble sang confidently, while the onstage band, positioned on an elevated platform, provided strong accompaniment without ever overpowering the performers. Nic Collins’ choreography was energetic, polished and consistently well executed by the large ensemble. Collins created choreography that was both engaging and achievable for the performers, resulting in ensemble numbers that were delivered with polish, precision and enthusiasm.
The visual elements were equally impressive. Jason Dew’s set provided a versatile playing space, while projections added interest without becoming distracting. Costumes by Kylie Green and Emma Pool were colourful and era-appropriate, helping to create the unmistakable 1950s atmosphere, while props coordinated by Fran Molineux added authenticity. Lighting designed by Jen Frith effectively supported the action throughout.
Apart from a couple of brief instances of sound feedback and the occasional hint of opening-night nerves, there was little to fault in this presentation. Pelican Productions staged a colourful, energetic and polished production that understood exactly why audiences have loved Grease for generations. There was a genuine sense of enjoyment radiating from the stage, and it was infectious. It was a thoroughly entertaining night of quality musical theatre.
Cast 2
Pelican Productions’ Grease The Musical is a lively, energetic production that captures the fun, nostalgia and larger-than-life spirit of the beloved musical while giving its young cast plenty of opportunities to shine. With a strong ensemble and a number of standout performances, the production proves that there is plenty of life left in Rydell High.
As Danny Zuko, Alek Kudra brings exactly the right amount of charisma to the role without allowing Danny to become a caricature. His performance balances the character’s swagger with enough vulnerability to keep him engaging, while also giving him plenty of opportunities to showcase his impressive dancing and singing. His solo, Sandy, was a particular highlight, demonstrating his vocal ability and stage presence.
Ali Burns brings a sweetness to Sandy while possessing a powerhouse voice that makes her musical moments particularly memorable. I’m personally not a fan of Sandy being performed with an Australian accent, given that the accent was specifically changed and written for Olivia Newton-John in the film adaptation. It can sound somewhat jarring when set against the otherwise predominantly American accents. Fortunately, this did little to detract from Burns’ overall performance, which was confident and vocally impressive.
Caitlin Laventure fully embraced the attitude and sass of Rizzo. She has a strong command of the character and was able to showcase her considerable vocal talent, but it was particularly rewarding to see glimpses of Rizzo’s vulnerability during There Are Worse Things I Could Do. That more exposed side of the character is essential to the performance to prevent Rizzo from becoming simply the tough girl of the Pink Ladies.
Laventure was well matched with Henry Green as Kenickie, with the pair sharing particularly strong chemistry. Their relationship became especially compelling when the drama surrounding their characters began to unfold, giving their scenes an added emotional spark.
Among the Pink Ladies, Emma Pool impressed as Marty, bringing strong characterisation alongside her vocal performance. Lucy Stirling as Frenchy and Kenya Styles as Jan both demonstrated excellent comic timing and a strong understanding of their characters, contributing plenty of energy and humour whenever they were on stage.
Connor Foreman was a standout as Roger. His incredible vocal control and range immediately set him apart, but it was his comic timing that made the character particularly entertaining. He worked extremely well with the Burger Palace Boys and had an equally enjoyable dynamic with his romantic interest, Jan. Foreman and Styles clearly knew how to have fun with their duet Mooning, making a meal of the number and generating plenty of laughs.
Will Fleming impressed as Doody, particularly in his solo, while Freddie Windle brought exactly the right attitude to Sonny. Together, the Burger Palace Boys created a strong ensemble presence and captured the youthful energy and cheekiness that is essential to the world of Grease.
Zara Windle was an absolute standout as Patty. She shone in every moment she had on stage, throwing herself wholeheartedly into the character and making even her smaller moments count. Patty can easily become a minor character, but Windle ensured that she was impossible to overlook.
Max Green brought a wonderfully geeky quality to Eugene, leaning into the character’s awkwardness and providing plenty of comic relief. His performance added another layer of humour to the Rydell High ensemble.
There were also several strong performances in the supporting roles. Harry Armstrong made his mark as Vince Fontaine, while Paige Crooks brought energy to Cha Cha. Annabelle Fleming made an impression as the Radio Singer, and Casey Mifsud stepped into the role of Johnny Casino with confidence. Kate Wooding rounded out the supporting cast as Miss Lynch, bringing her own characterisation and comic presence to the role.
What stood out most was how well the ensemble worked together. There was a genuine sense of energy and commitment across the cast, with performers supporting one another and contributing to the larger moments rather than relying solely on the principal characters to carry the production. The cast embraced the fun, cheekiness and high energy that Grease demands, creating an ensemble that felt cohesive and enthusiastic throughout. There was a real sense that everyone was invested in bringing the world of Rydell High to life, and that collective energy ultimately made the show a great deal of fun to watch.
