Grease at Woodrow Wilson

by Anuja Shah - Montgomery Blair High School

Printed in the Woodrow Wilson Beacon (Guest Writer)

 

This weekend, Woodrow Wilson High School presented a great example of why teenagers--not adults-- should perform plays about youth. The logic is simple: when kids act like kids, they’re remarkably convincing. And, though the students’ steady handle on Grease wavered occasionally, it worked for the characterization of the show; after all, if a production about the transition into adulthood were enacted by perfectly predictable teenagers, who’d believe it?

Set in the late 1950s, Grease follows the various trials and triumphs of the students of Rydell High School-- specifically, the Burger Palace “greaser” Boys and their spunky girls, the Pink Ladies-- in a poignant, unabashed, and hilarious celebration of youth.

New to Rydell and a misfit among the Pink Ladies is Sandy Dumbrowski (Laura Hankin), who awkwardly reencounters her summer flame, and leader of the Burger Palace Boys, Danny Zuko (Jordan Brown) at school. Hankin’s initial soft-spokenness rendered her powerful vocals an enjoyable surprise, and she shined during solos. Brown’s Danny was versatile: between juggling good intentions and a tough demeanor, he also earned many laughs for his apt comic timing. Brown and Hankin had a steady chemistry, even during fights, which grew throughout the show.

As leader of the Pink Ladies, Rizzo (Rosa Kelly) was all hips and all heart; her blend of attitude and passion brought life to “There Are Worse Things I Could Do”. The Ladies themselves truly seemed like old friends, and complemented each others’ strengths (and weaknesses, like Jan’s (Jessica Bruce) amusing inability to resist snacking).

Noteworthy is the fact that Kenickie (Kenny North) earned laughs even before delivering his first line. Doody (VonDexter Montegut), too, was endearingly goofy. Commendations, however, are deserved by Roger (Douglas Carson), for making “Mooning”-- yes, an entire song about the display of a juvenile rear-- seem heartfelt.

Group numbers (“Shakin’ at the High School Hop,” “Born to Hand Jive,”) really showcased the energy of the entire company; it seemed as though they were waiting for the dance to really let loose, in typical teenaged fashion.

Bringing technical aspects to a space like Wilson’s auditorium can only be described as resourceful. Because the theater has no lighting booth, lighting and spotlights (both effective) were run from mid-house, on extension cords from the top of the theater’s back wall. Wilson’s efficient and nearly-invisible stage crew were also responsible for setting a daunting thirteen scenes, almost all different, and all artistic. Scene changes alone were a tremendous task, but they managed to master each.

Teenagers will be reckless. They’ll be wild. They’ll make out in the park. But if they’re playing parts they can relate to, their energy will soar, as evidenced by Wilson’s talented cast. Don't think you were born to Hand Jive? These kids will make you wish you were.