Thousand Islands Playhouse’s ‘Grease’ is a Well Oiled Machine
If you’re looking for a place to cool down in this heatwave, Thousand Islands Playhouse’s production of Grease is not the place to go. Taking to the stage as the first musical of their 45th season, Grease is a rock n’ rolling party full of excitement. A perfect choice for some mid-summer fun, the Playhouse’s performance of the classic feel-good musical is a hot hit.
Fresh off the rails of a summer romance, Danny Zuko (Will Lincoln-Gouett) and Sandy Dumbrowski (Paige Foskett) find themselves unexpectedly reunited for their senior year at Rydell High. Separated by a gang of wacky characters and social pressures, will these summer lovers survive the fall?
The energy is infectiously high and remains so the entire run time: two supporting acts that make a lasting impression are Megan Dallan’s hysterical performance as Patty and Luca McPhee’s endlessly cute take on Doody.
The ensemble only falls short as a group when it comes to the dancing. For a team so vocally agile, they lack the groove. Choreography by Jesse Weafer does not translate well as performers were out of time with each other—unexpected given their obvious familiarity with the music. The fantastic tap break during Beauty School Dropout saves this production from being entirely disappointing on the dance front.
Though I commend the entire ensemble for their vivacious acting performances, Frenchy (Zoë O’Connor) and Kenickie (Alex Fellowes-Smith) are standout players. O’Connor is an absolute charmer as Frenchy, bringing all the sweetness and pizazz called for by the part, and Kenickie is the ultimate Greaser—he is automatic, systematic, and hydromatic—he is Greased Lightning. Effectively commandeering the ship while on stage, Fellowes-Smith is not only independently strong, but seems to elevate all other performances alongside his own.
The vocals are stunning all around. Music director Rich Coburn must be applauded for his attention to detail. Performers’ voices are each uniquely textured while collectively harmonious. Kade McCloud as Teen Angel delivers an excellent example of the vocal flips and falsettos elicited from the male characters, paying homage to the original Grease vocal style. Lincoln-Gouett exercises his range to its full potential as Danny sits in the double-purposed ‘greased lightning’ car for Alone At The Drive-In Movie—this soulful crooner is a believable throwback to a bygone era.
Unfortunately Foskett as Sandy performs under the bar of character animation brought by the rest of the cast. Her voice has all the power of a strong female lead, but her performance didn’t feel hopeless or devoted during the well-known solo. Similarly, Amy Holden’s Rizzo didn’t make use of any of the original moxie belonging to the iconic character. Primarily a vocalist, Holden only shines during her rendition of There Are Worse Things I Could Do.
The unlikely pair of Roger (Jameson Mosher) and Jan (Acacia Roschel) are a fire cracking duo as scene partners and sell the audience on the fun of Mooning. Roschel’s snapping humour is terrifically matched by Mosher’s spirited physicality. The duo’s chemistry bubbles past the point of comparison on stage.
The set, skillfully designed by KTA alum Freddy Van Camp, veers away from realism in a bold mock-up of fifties nostalgia. Fitted to the stage like a retro reference piece, the picturesque composition of the set permits various moments of impressive tableaux. Actors prance about a checker-painted stage, up one of the two vinyl record-lined staircases, and along an elevated catwalk. Classic 50s illuminate signs light their way, labelling different landmarks like the WAXX radio station and Burger Palace. The risqué content and attitude of Grease takes on a teeny-bopper setting reminiscent of an Archie comic. Van Camp leans into the modern perspective of a fifties fantasy, granting the production its over-the-top Pop Shoppe aesthetic.
The lighting, designed by Micheal Kangas, is not only beautiful but sharply calculated. These effects are largely practical—functional LED panels are as much a part of the set as the moving stairs or sliding garage doors. Kangas has assigned each scene its own colour scheme, making for an intense visual impact, distinguishing mood and carefully guiding audiences through the capricious story of Grease.
The band, composed of percussionist Sean Donaldson, guitarist James D.Taylor, bassist Alec Barken, and keyboardist Rich Coburn is a talented group. Besides the flawless musical performance, the band met every cue alongside lighting effects, threading the visual aspects of production with the auditory. One gripe I had with the sound (designed by Richard Fern) was the poor quality of the vocal/instrumental mix. There was a lack of balance during ensemble vocal moments, with the band overpowering the cast. This was especially noticeable during the opening and closing numbers, as our hello and goodbye to this amazing show was muffled by the sheer volume of the instrumentals. The otherwise boisterous opening and kick-ass finale seem less exciting than they truly are.
Grease is a show of many moving parts, but under the attentive eye of director Thomas Alderson, the production and performance elements move steadily towards a concise style. Alderson achieves a brilliantly adapted musical theatre classic, appropriately meeting the source material at its levels of gusto. Grease is a guaranteed good time, but this specific production holds a clear vision executed beautifully with well-informed actors. I felt like I was visiting the elevated and flashy world of Grease, and I recommend all theatre-goers make a similar journey.
‘Grease’ plays at the Thousand Islands Playhouse until August 15, 2026. Find tickets and more information here.
