Author: Feiyang Xiang

REVIEW: Grease The Musical

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Rating: 4 out of 5.

Back to the high school of the 1950s on this summer night, the restless teenage desires are in full bloom.

Grease is a classic high school musical that premiered in 1971 and was adapted into a film in 1978. Many people may be more familiar with the film version, which indeed influenced numerous American high school movies that followed. Set in the 1950s, the story revolves around ten teenagers at the fictional Rydell High School in Chicago, focusing on the romantic relationship between Danny Zuko and Sandy Olsson. This 2024 UK & Ireland tour edition transports the audience back to an era full of rock and roll and youthful passion.

The overall stage visuals are highly retro, with costumes and props meticulously recreating the 1950s American working-class society. The atmosphere of the show was lively and energetic, with the stage scenes, actors, and audience all immersed in infectious music and dance. 

One of the most commendable aspects of Grease is its choreography, which blends styles like rock, jazz, and street dance, creating a vibrant and dynamic performance. Choreographer Arlene Phillips effectively captures the restless desires of teenagers. The large ensemble dance numbers are particularly impressive, combining rhythmic music with visually compelling movements, making the performance highly engaging.

The music in Grease is very rhythmic, catchy, and easy to remember, quickly drawing in the audience. Although the casting choices for the actors did not showcase exceptional vocal skills, they were adequate. Their dance abilities, however, were outstanding, and they looked fantastic on stage. Especially notable was George Michaelides, who played Kenickie. His performance, particularly during the scene with the used car, was agile, energetic, and full of charisma, perfectly capturing Kenickie’s rebellious spirit. And the understudy Ben Middleton, who portrayed the role of Danny, also delivered a charming and memorable performance.

However, the show has some weaknesses in its narrative logic. While the music, dance, and plot of Grease all serve to portray the theme of “rebellion”, the storyline sometimes forces the portrayal of rebellion, leading to some crude scenes. Given the significant differences between the 1950s and today, some elements might be difficult for audiences to accept now. For example, certain stereotypical gender impressions or underlying sexism, such as Sandy having to become a “bad girl” to win a man.

Despite these flaws, Grease still presents numerous iconic cultural symbols and thought-provoking issues, such as peer pressure, school bullying, and cliques. Although it has shortcomings, the show remains vibrant and impactful, leaving a lasting impression.

REVIEW: Un:Titled 2024

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Rating: 3 out of 5.

This delightful and immersive concert allowed the audience to experience a variety of musical styles and emotions, from classical to modern, and from joy to sorrow.

The Scottish Chamber Orchestra’s Un:Titled performances are informal, gig-style standing concerts. I particularly enjoyed the atmosphere of this concert. Unlike formal concerts where everyone sits upright in their seats, this concert allowed the audience to stand, drink, and socialize with friends and family while enjoying the music. The setting was warm and relaxing. With the lighting effects creating an immersive and cozy atmosphere, the entire venue felt like a space for musical performances, like a bar or festival, making for a delightful Saturday night. However, the informal style did have some drawbacks, such as audience fatigue from standing too long and potential difficulty in seeing the performers clearly.

The concert featured six pieces, showcasing a wide range of musical styles from classical to pop, traditional and electronic music. The inclusion of live DJ performances and introductions by host Jay Capperauld enhanced the transition between pieces, creating a cohesive experience. The concert focused on showcasing the SoundBox Programme, with its three pieces being the highlights of this evening. These new works by young composers—Emily Scott-Moncrieff’s “She breathes, She becomes”, NAAFI’s “Joyride in your Aura”, and Daniel Abrahams’ “Hope in the Dark”—blend pop and classical music in creative and engaging ways.

“Hope in the Dark” was particularly impressive, with the performers’ harmonious collaboration and the interplay of orchestral and percussive elements – especially the xylophone – evoking a sense of darkness punctuated by hopeful light. “She breathes, She becomes” beautifully conveyed the composer’s reflections on the life and decay of flowers, while “Joyride in your Aura” created a serene and peaceful atmosphere.

The concert also featured works by renowned composers. Connesson’s “Disco Toccata” opened the evening with a powerful performance by the cello and clarinet, combining disco rhythms with Baroque toccata elements to create an energetic and captivating start. Jay Capperauld’s solo flute piece “The Pathos of Broken Things” followed, with its serene but sorrowful melody evoking a sense of being in a quiet forest. However, the performer’s execution seemed lacking, with noticeable breathing sounds and insufficient breath support during high notes. Additionally, this placement, as the second piece, felt somewhat off as it cooled the vibrant atmosphere set by the opening piece.

The concert concluded with excerpts from John Adams’ “John’s Book of Alleged Dances”. Despite its technical demands, the string quartet performed admirably, showcasing good coordination and unity in tone and pitch. Though there were occasional issues with rhythm synchronization, the overall performance was commendable.

This delightful and immersive concert allowed the audience to experience a variety of musical styles and emotions, from classical to modern, and from joy to sorrow. The informal, gig-style setting, enhanced by creative lighting and diverse musical offerings, made for an engaging and enjoyable evening.

Photo by Steve Tanner

REVIEW: Blue Beard

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Rating: 4 out of 5.

Through a vagarious and absurd lens, Blue Beard humorously but touchingly portrays women’s hardships, revealing the challenges of their vulnerable situations

Blue Beard is adapted from the 17th-century French folktale Bluebeard. Bluebeard is a wealthy and sinister nobleman who has been married six times to beautiful women, and his wives all mysteriously vanished. In director Emma Rice’s adaptation, Bluebeard (Tristan Sturrock) is portrayed as a magician who attracts his new bride, Lucky (Robyn Sinclair), through his magic performance. Additionally, the narrative introduces the sisters from the Convent of the Three Fs (“fearful, fucked, and furious”), as well as a storyline a boy (Adam Mirsky) searching for his sister (Mirabelle Gremaud). Rice adapted this folktale into a non-naturalistic style play, incorporating elements of musical, magic shows, acrobatics, projections, and other arts.

Before the official start of the play, the stage curtain remains tightly closed, projecting a blue light shape like a starry sky. Actresses dressed as monks in plaid robes and sunglasses are already sitting on stage, getting into character. As the curtain opens, we can see a square space enclosed by scaffolding. There are not many props, the empty stage space gives unlimited possibilities for the play. The hippie monks open the play with a playful and humorous musical performance. The first half of the play mainly tells the story of Lucky marrying Bluebeard, characterized by high energy and rapid pace, incorporating a variety of art forms. Dance, harp, guitar, piano playing, magic, and other performances are overwhelming. The audience continued to be amused by humorous lines and joking performances. Amidst the absurd and humorous plot, there are interjections of dialogue between the boy and the blue-bearded Mother Superior (Katy Owen). Throughout most of the play, the boy sits outside the square space, like an audience observing the events on stage quietly. The Mother Superior intermittently interrupts the performance, narrating and commenting on the actions of the characters. This Brechtian alienation effect makes the audience wonder about the true identities of the two people and start to think about the story on the stage. 

By the second act, all becomes clear. The plot quickly reverses, and behind the funny folktale are the women’s challenges for survival. The Mother Superior removes her beard and robe, bursting into tears to express her grief and anger about the loss of her daughter. The boy’s missing sister is shown being followed by a stranger on CCTV. Everything that happened in the first act seems like the mother’s dream. The dream is about ultimate carnival and happiness, but the reality is a series of vulnerabilities faced by women in society, including domestic violence and social insecurity.

This play undoubtedly showcases feminism, calling the audience’s attention to the situation of women, and showing all the possibilities of girls. In Emma Rice’s direction, females can be fresh, energetic, confident, or they can be brave, strong, powerful, but at the same time vulnerable and helpless. Females can embrace life optimistically and enthusiastically, but they may also encounter malice and cruel attacks. At the end of the play, the director expresses her hope for everyone, “Let’s hold hands together and send the girls home.”