GREASE: THE IMMERSIVE MOVIE MUSICAL

Evolution London

★★★★

“Slick, is an understatement”

It was only a matter of time before the global production phenomenon that ‘Secret Cinema’ has become turned its hand to “Grease”. Nearly fifty years old, the musical romantic comedy has managed to avoid the criticisms of it not aging well, mainly due to the fact it was never meant to be taken seriously. Along with ‘The Rocky Horror Show’, it has probably been the subject of the most ‘sing-along’ outings in every town around the world – and the immersive extravaganza currently in Battersea Park is, essentially, a giant version of this joyous participatory experience. But so much bigger, better and more fun, with some mind-blowing technical wizardry going on. The backstage crew must be running a marathon each night to ensure every element falls into place. They are evidently working like greased lightning as the result is as slick and synchronised as the T-Birds’ Ford De Luxe convertible.

So, welcome to 1959. Welcome back to High School. More specifically, welcome to Rydell High. It’s the beginning of a new year. The holiday atmosphere follows us up to the school gates thanks to a fairground being right outside. Get there early as the queues for the rides and the hotdog stands, and the bars are authentically long. Otherwise just wallow in the gloriously innocent fifties feel-good atmosphere. On a giant screen the opening sequence from the movie heralds the start of the show. The school bell rings out and we are ushered into the school hall – i.e. the massive event venue that is Evolution London. We wander round like at a trade fair or a con event, sometimes a bit lost. Staff are on hand to tell us where we can and cannot go. Various stages depict the many locations – the school gym, the beauty school, the Autoshop, the National Bandstand, the Drive-In, the diners – while many screens project the original movie in real time.

All the musical numbers are performed live by the actors and the band as they follow the action with precision and gusto. The synching is spot on. At key moments the characters form the movie appear before us (or far away, depending on where you happen to be in the hall at that particular time). You can watch the movie screen while you listen, as the lip movements are uncannily in time with the actors. Although you are better off focusing on the live action. Liam Morris and Stephanie Costi are dead ringers for Travolta and O.N.J. as Danny and Sandy. Similarly, all the T-Birds and the Pink Ladies are often indistinguishable from their screen counterparts. The onstage band is exceptional, providing note perfect interpretations of the songs, and intermittently filling dips in the film’s narrative with star turn numbers from the ensemble. If you come away not knowing how to do the hand jive, you clearly haven’t been paying attention.

Almost as much fun can be had watching the audience as the show. If you are not a fan of immersive experiences, the infectious joy that ripples through the crowds will surely convert you. And proceedings are helped along by the many crowd pleasers this musical throws into the mix, from the opening ‘Summer Nights’ right through to the closing chang-chang, changity-chang-shoo-bops. Costi is forever watchable as Sandy, melting our hearts with her ‘Hopelessly Devoted to You’ moment. Lucy Penrose is another standout as Rizzo, belting out ‘There Are Worse Things I Could Do’, even managing to rise above the audience’s ensemble singing. There are a few surprises along the way in the staging. Director Matt Costain has managed to turn what could be a nightmare of a job into a dream. Slick, is an understatement.

Throughout the show we are free to meander into and out of the action that surrounds us completely. It is always nice to pop back outside for a breather. Eventually we are all led back into the fairground for the famous final scene in which Sandy appears transformed, complete with spray-on black satin pants. The rousing ‘You’re the One that I Want’ is as ‘electrifying’ as Danny’s ‘multiplying chills’. Secret Cinema has woven its magic once again on the story it is telling (not that there is much of a story to tell in this case). But we feel part of it, and despite it having become such a brand now, it still feels intimate and personal. As we stroll away through the night air, with a ‘shoo-wop-sha-whada-whadda’ spring in our steps, we know we have witnessed something quite unforgettable, and have been reminded that, perhaps after all, ‘Grease is the word’.

GREASE: THE IMMERSIVE MOVIE MUSICAL

Evolution London

Reviewed on 5th August 2025

by Jonathan Evans

Photography by Luke Dyson | Danny Kaan | Matt Crockett

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GREASE

★★★

“contains moments of honestly and heartfelt brilliance, but it is undoubtedly let down by its inconsistencies throughout“

Sleepless closely follows the storyline of Meg Ryan & Tom Hanks’ smash hit film Sleepless in Seattle; a tale of two lost people, brought together by a little boy who calls up a radio station to seek out a new bride for his widowed father. In this story, the widow Sam (Jay McGuiness), was an awkward, hopelessly romantic architect and Annie (Kimberley Walsh) was a journalist, desperate to escape her current romantic predicament. This production was beautifully played by a 12-strong band, which worked with elements of Jazz to create a 1930s elegance and atmosphere whilst successfully, under Morgan Young’s direction, managing to remain in its 1990s setting.

Michael Rose and Damien Sanders have clearly put together this production for no financial gain, but only to demonstrate a total love of theatre and bring us all to what we have been starved of for too long. But despite really wanting to love this show, its disjointed nature left the production falling slightly flat. The opening numbers, intended to imitate a bleakness of the couple’s lives without love, were limp and awkward, making the intensely contrasting colour, that was unsubtly injected as the show progressed, too much. What I found particularly frustrating was that there was no moment where either protagonist sang about how they actually felt about the other, instead, all of this tangible emotion was given to secondary characters, and it was these songs, along with the technical aspects of the show that were the best parts of the production.

Jonah (Jobe Hart) outshone the rest of the cast with his confidence and commitment to be the naïve but cheeky son of Sam. In particular, his performance of ‘Now or Never’ where he showed off his ability to be the ‘triple threat’, conveying his agile dance moves and crystal-clear singing voice. Other standout moments from secondary characters were ‘Dear Sleepless,’ performed by Patsy (Charlie Bull), Marissa (Leanne Garretty) & Nancy (Dominique Planter), which was a welcome burst of energy, expressing the actual emotive response to the radio station call. Planter was particularly brilliant in this; her short solo was packed with humour and confidence. Finally, Harriet Thorpe, whose portrayal of Eleanor, Annie’s mother, was filled with charm and promise; her song ‘The Way He Said My Name’, was genuine and heart-warming.

I wasn’t entirely convinced by the two lovers, who both did have moments of relieving brilliance and whose singing was as expert as you’d expect, but whose awkward demeanours didn’t quite work. Annie’s song ‘Things I Didn’t Do’ was entirely captivating and showed a flash of true humanity. However, and maybe at fault of the script, in moments of panic, whereby she spoke quickly about the pronunciation of different words (a theme that was carried out across the show) was unconvincing and false. Jay McGuiness’ portrayal of Sam lacked gumption. His awkward, bereft demeanour didn’t play hand in hand and so the moments which did work, which were solely linked to his relationship with Jonah, felt as if they were entirely carried by Jobe Hart’s energy and dynamism.

The key brilliance in this piece came from the set (Morgan Large) and lighting (Ken Billington), which worked spectacularly together to create an architectural vision in order to mirror Sam’s profession. The set spun centrally to convey various rooms seamlessly, whilst externally to this, a stressed paint on wooden boards worked to imitate the waterside accommodation of Sam’s house as well as giving an ‘edgy’ feel to Annie’s home and workplace. Cabaret seating was used by both the cast and the audience at the front of the theatre and it worked beautifully to include the audience as part of the chorus; making us a part of the hustle of New York or joining them in an intimate and romantic restaurant.

Sleepless definitely contains moments of honestly and heartfelt brilliance, but it is undoubtedly let down by its inconsistencies throughout. It is a show for people who really like musicals, but not an all-time great.

Reviewed by Mimi Monteith

Photography by Alastair Muir

Tag Archives: Ian William Galloway

GREASE: THE IMMERSIVE MOVIE MUSICAL

★★★★

Evolution London

GREASE: THE IMMERSIVE MOVIE MUSICAL

Evolution London

★★★★

“Slick, is an understatement”