Don your leather jackets and slick back your hair: 'Grease' hits the high school stage this November
"Grease" captures a small snapshot of teenage life in the late '50s, a tale that, despite its small stretch from the reality of high school, has endured over time to become a pop culture reference point.
Despite the familiarity of the story, when the musical hits the Wellesley High School stage next week at 4:30 p.m. on Nov. 12, 7:30 p.m. on Nov. 13, and at 2 and 7:30 p.m. on Nov. 14, the audience can expect the musical to be anything but predictable. The directors, cast, and crew have all worked since the summer to put together a production that is true to the original, yet also very much their own.
Because there were so many students interested in participating in the show, "Grease" features two equally weighted casts, as opposed to having an understudy cast alongside the main cast.
Lizzie Mears, Class of '16, who plays Sandy in one of the two casts, looks forward to some of the personal touches that the theater department will bring to the musical. She referred to the beginning "alma mater" scene, when the story begins with all the characters recalling their high school days. They will begin looking at old yearbooks and photographs, which will feature members of the ensemble posing for "candid" pictures. The ensemble will also create and star in its own short horror movie that will be projected on screen during the drive-in scene.
In addition to adding new elements through props, the cast and directors decided to modify the ending where Sandy changes into a tough girl to ultimately win Danny. "Grease" director and WHS theater specialist Stephen Wrobleski, said "I've never liked the central message of "Grease," that you have to change yourself for the boy. So that's something I've been working on."
Mears, who has been working with Wrobleski on finding a way to convey a more contemporary version of Sandy's coming to terms with herself at the end of the play, said this adjustment is especially important in the cat scene, where Sandy emerges from her conservative, shy shell and into the cat suit. "We're trying to make it more about self confidence and self awareness. [In the cat suit scene,] we want Sandy to express more confidence and not go totally back to her old self, but not completely change her personality. She needs to stay true to who she is; that's what we want to communicate," said Mears.
The process of adapting the message provides an interesting and unique experience for Mears, who cannot recall another time when there was such a prominent character adaptation within a WHS show. "[Wrobleski] is pretty adamant about staying true to the original script... because it can be a little offensive to the writers to completely change it, but he feels strongly about altering that ending. We're not going to add any lines-- it has to be conveyed with what we have," Mears added. She went on to share a memorable moment in theater for her when she attended the Broadway musical "Cinderella," in which the writers reinterpreted the classic story. "[Cinderella] was so fun to watch because it took something so traditional, so familiar to everyone and gave it that little twist, so I'm really excited that we can do that. I haven't seen a production of 'Grease' that revises the ending so I think it will be really unique."
All the actors aim to enhance their characters and adapt them as their own. Dean Simpson, '17, who plays Kenickie, said, "I've got to play Kenickie in the way everyone knows him, but at the same time I need to add my own touch. I want to make him more charming than he is in the movie. I think he can be both the tough guy and charming at the same time."
Not only will the characters and storyline get an update, but the lighting and sets will be revitalized as well. With a strong leadership team and the largest membership they've ever had, the tech crew has big plans for the set, props, and lighting design. Grease's four stage managers are vital to the production of the show. Griffyd Cole, '16, Christina Luby, '16, Mukul Srisha, '16, and Katrina Gates, '16, oversee attendance, take notes and label the blocking of scenes, on top of the rest of the myriad responsibilities of leading a large tech staff.
The crew put an ambitious lighting plan in place to showcase Grease's familiar tunes. "We're trying to take songs that everyone knows really well and make them magical and memorable," said production manager and technical director Brian McManimon. In advance of the show, the crew programs the intelligent lighting so that it changes color and moves with just the press of a button. "We're really lucky to be in this space," McManimon said. "Most high schools don't have this [level of lighting technology]; most colleges don't even have this. It looks and feels professional, and that elevates everyone's standards." To enable some of the stage transformation, WHS received a generous donation from Harvard Pilgrim Health Care and parent Christine Harding to purchase 1950s neon lighting.
One of the greatest challenges for the tech crew was building the greased lightning car. However, the stage managers embraced the opportunity. Greased Lightning, designed by WHS students and sponsored by Wellesley Toyota, has been constructed from scratch. The iconic hot rod will include working lights and real wheels.
The professional quality of the musical doesn't end with the tech crew; Parents of Performing Students volunteers dedicate hours of their time to backstage support, the most labor-intensive being costume design. Former parent Cathy DuBois still directs the costume team, long after her own children graduated from the WHS performing arts program. Students, parents, and teachers alike praise her dedication and talent for wardrobe artistry, which helps bring the musicals to life. "Cathy wants kids to feel good on stage," said costume coordinator Christine Gillooly. "She lets kids be in their favorite colors and makes sure that everyone feels comfortable in what they're wearing." DuBois also aims to make every student in the cast feel important by giving each actor a costume change.
Costume preparation began in the summer, with parents pulling costumes from the high school's wardrobe closet. They assessed the inventory and found there was a need for jumpers and skirts, which they sewed and then tailored to each actress's size. Gillooly added that there are some "key pieces," such as the famous Pink Ladies' jackets, that are hard to create, so they rent them. For items they can't rent, make, or find in the school's extensive collection, the seamstresses get creative, even recycling Gillooly's mother's vintage prom dress for the prom scene.
Parent involvement extends beyond costumes. "We provide behind-the-scenes support and supplementary funding so that our teachers can do what they do best," said POPS Publicity Chair, Susan Kinney, "and that is teach." POPS drama coordinator, Darlene Howland, elaborated on this, explaining that drama volunteers do everything from managing the front of the house during shows -- handing out programs and selling refreshments -- to supplying backstage amenities, coordinating publicity and ticket sales, and providing financial aid for items not included in the performing arts budget. "[All the students and teachers] work really hard, so POPS tries to provide those little things to make it easier," Howland added.
In addition to volunteer assistance from POPS, stage directors and student directors keep the actors organized. The two student directors, Elise Miwa, '16, who plays Sandy in one of the casts, and Jacky Norris, '16, who is Cha Cha, lead the warm ups, watch rehearsals, assist in the blocking of certain scenes, and help keep the students in line. "It's like being a captain of a team," said Norris. "You're directing everyone and have to keep the students excited and engaged."
Howland added that aside from the administrative assistance the student directors provide, they also are helpful mentors to the younger actors. "They are great role models for the cast, especially for students who are coming from the middle school. It's a big step up, and the directors do a good job leading by example," she said.
All these small touches — everything from character adjustments to lighting changes — come together to form the musical, which for the actors, tech crew, and directors make "Grease" unique from other high school productions. All of WHS's performing arts disciplines collaborate to create a stunning amalgamation. "It's really showcasing everyone," McManimon exclaimed proudly, "The band's involved, you see the actors, you see the dancers, you see technical artistry."
This article was published in The Wellesley Townsman on November 9, 2015.
Despite the familiarity of the story, when the musical hits the Wellesley High School stage next week at 4:30 p.m. on Nov. 12, 7:30 p.m. on Nov. 13, and at 2 and 7:30 p.m. on Nov. 14, the audience can expect the musical to be anything but predictable. The directors, cast, and crew have all worked since the summer to put together a production that is true to the original, yet also very much their own.
Because there were so many students interested in participating in the show, "Grease" features two equally weighted casts, as opposed to having an understudy cast alongside the main cast.
Lizzie Mears, Class of '16, who plays Sandy in one of the two casts, looks forward to some of the personal touches that the theater department will bring to the musical. She referred to the beginning "alma mater" scene, when the story begins with all the characters recalling their high school days. They will begin looking at old yearbooks and photographs, which will feature members of the ensemble posing for "candid" pictures. The ensemble will also create and star in its own short horror movie that will be projected on screen during the drive-in scene.
In addition to adding new elements through props, the cast and directors decided to modify the ending where Sandy changes into a tough girl to ultimately win Danny. "Grease" director and WHS theater specialist Stephen Wrobleski, said "I've never liked the central message of "Grease," that you have to change yourself for the boy. So that's something I've been working on."
Mears, who has been working with Wrobleski on finding a way to convey a more contemporary version of Sandy's coming to terms with herself at the end of the play, said this adjustment is especially important in the cat scene, where Sandy emerges from her conservative, shy shell and into the cat suit. "We're trying to make it more about self confidence and self awareness. [In the cat suit scene,] we want Sandy to express more confidence and not go totally back to her old self, but not completely change her personality. She needs to stay true to who she is; that's what we want to communicate," said Mears.
The process of adapting the message provides an interesting and unique experience for Mears, who cannot recall another time when there was such a prominent character adaptation within a WHS show. "[Wrobleski] is pretty adamant about staying true to the original script... because it can be a little offensive to the writers to completely change it, but he feels strongly about altering that ending. We're not going to add any lines-- it has to be conveyed with what we have," Mears added. She went on to share a memorable moment in theater for her when she attended the Broadway musical "Cinderella," in which the writers reinterpreted the classic story. "[Cinderella] was so fun to watch because it took something so traditional, so familiar to everyone and gave it that little twist, so I'm really excited that we can do that. I haven't seen a production of 'Grease' that revises the ending so I think it will be really unique."
All the actors aim to enhance their characters and adapt them as their own. Dean Simpson, '17, who plays Kenickie, said, "I've got to play Kenickie in the way everyone knows him, but at the same time I need to add my own touch. I want to make him more charming than he is in the movie. I think he can be both the tough guy and charming at the same time."
Not only will the characters and storyline get an update, but the lighting and sets will be revitalized as well. With a strong leadership team and the largest membership they've ever had, the tech crew has big plans for the set, props, and lighting design. Grease's four stage managers are vital to the production of the show. Griffyd Cole, '16, Christina Luby, '16, Mukul Srisha, '16, and Katrina Gates, '16, oversee attendance, take notes and label the blocking of scenes, on top of the rest of the myriad responsibilities of leading a large tech staff.
The crew put an ambitious lighting plan in place to showcase Grease's familiar tunes. "We're trying to take songs that everyone knows really well and make them magical and memorable," said production manager and technical director Brian McManimon. In advance of the show, the crew programs the intelligent lighting so that it changes color and moves with just the press of a button. "We're really lucky to be in this space," McManimon said. "Most high schools don't have this [level of lighting technology]; most colleges don't even have this. It looks and feels professional, and that elevates everyone's standards." To enable some of the stage transformation, WHS received a generous donation from Harvard Pilgrim Health Care and parent Christine Harding to purchase 1950s neon lighting.
One of the greatest challenges for the tech crew was building the greased lightning car. However, the stage managers embraced the opportunity. Greased Lightning, designed by WHS students and sponsored by Wellesley Toyota, has been constructed from scratch. The iconic hot rod will include working lights and real wheels.
The professional quality of the musical doesn't end with the tech crew; Parents of Performing Students volunteers dedicate hours of their time to backstage support, the most labor-intensive being costume design. Former parent Cathy DuBois still directs the costume team, long after her own children graduated from the WHS performing arts program. Students, parents, and teachers alike praise her dedication and talent for wardrobe artistry, which helps bring the musicals to life. "Cathy wants kids to feel good on stage," said costume coordinator Christine Gillooly. "She lets kids be in their favorite colors and makes sure that everyone feels comfortable in what they're wearing." DuBois also aims to make every student in the cast feel important by giving each actor a costume change.
Costume preparation began in the summer, with parents pulling costumes from the high school's wardrobe closet. They assessed the inventory and found there was a need for jumpers and skirts, which they sewed and then tailored to each actress's size. Gillooly added that there are some "key pieces," such as the famous Pink Ladies' jackets, that are hard to create, so they rent them. For items they can't rent, make, or find in the school's extensive collection, the seamstresses get creative, even recycling Gillooly's mother's vintage prom dress for the prom scene.
Parent involvement extends beyond costumes. "We provide behind-the-scenes support and supplementary funding so that our teachers can do what they do best," said POPS Publicity Chair, Susan Kinney, "and that is teach." POPS drama coordinator, Darlene Howland, elaborated on this, explaining that drama volunteers do everything from managing the front of the house during shows -- handing out programs and selling refreshments -- to supplying backstage amenities, coordinating publicity and ticket sales, and providing financial aid for items not included in the performing arts budget. "[All the students and teachers] work really hard, so POPS tries to provide those little things to make it easier," Howland added.
In addition to volunteer assistance from POPS, stage directors and student directors keep the actors organized. The two student directors, Elise Miwa, '16, who plays Sandy in one of the casts, and Jacky Norris, '16, who is Cha Cha, lead the warm ups, watch rehearsals, assist in the blocking of certain scenes, and help keep the students in line. "It's like being a captain of a team," said Norris. "You're directing everyone and have to keep the students excited and engaged."
Howland added that aside from the administrative assistance the student directors provide, they also are helpful mentors to the younger actors. "They are great role models for the cast, especially for students who are coming from the middle school. It's a big step up, and the directors do a good job leading by example," she said.
All these small touches — everything from character adjustments to lighting changes — come together to form the musical, which for the actors, tech crew, and directors make "Grease" unique from other high school productions. All of WHS's performing arts disciplines collaborate to create a stunning amalgamation. "It's really showcasing everyone," McManimon exclaimed proudly, "The band's involved, you see the actors, you see the dancers, you see technical artistry."
This article was published in The Wellesley Townsman on November 9, 2015.