Review: Ancient Grease, The Vaults

A parody of the film ‘Grease’, set in Ancient Greece.  Obvious when you think about it, with the potential for a comedy musical to leave you giggling and toe tapping.   Unfortunately, this just feels a bit flat.   

Transferring Grease to the Olympus Academy, a school for demigods,  Danny becomes Zeus (Peter Camilleri), and Sandy becomes Hera (Philippa Leadbetter). The Pink Ladies are reimagined as the Omegas — Aphrodite (Lucy Penrose) and Athena (Safia Bartley), joined by Hera, while the T‑Birds transform into the Alphas: Zeus, Ares (Christopher Patten‑Walker) and Hephaestus (Ollie Thomas Smith).  The trio of Fates — Atropos (Grace Kelly Miller), Clotho (Lara Sas) and Lachesis (Patten‑Walker) — complete the cast.  

The plot very loosely follows that of the film, as does the music. Changed, I assume, for legal reasons. Expect to hear familiar-sounding songs, but where the melody has been altered and with different lyrics reworked for the setting.  The singing is generally acceptable, though not especially memorable, until the second half, when Penrose and Camilleri each have solo numbers. Both performers really shine in these moments, revealing the strength of their vocals — something that isn’t evident earlier in the show.  There seemed to be an issue with the sound levels during the performance. It was often too loud, which affected the clarity of the lyrics, with the occasional backing‑track delay and other moments where the cast entered songs slightly late.  

The costumes blend elements of ancient Greece with a more modern, high‑school aesthetic, a good idea that doesn’t always feel cohesive, with a few pieces looking a little tired, as though they might not survive the full run.  Choreography by Lucinda Lawrence makes good use of the traverse stage, keeping the action and interest moving fluidly along the whole area without mishap, despite action and transitions happening at both ends.  

One of the quirks of a traverse set is that you can clearly see the audience on the opposite side.  A few people were in fits of laughter throughout, others far less so, and there were some empty spaces after half-time.  Comedy is subjective after all, but for me, Ancient Grease never finds its stride, leaning heavily on overused tropes and predictable jokes, which feel a little laboured.   Every now and then, though, a genuinely funny moment breaks through.  Hera’s outrageously over-the-top Australian accent is entertaining. I don’t know how Leadbetter manages to keep it up the whole time.  Smith’s performance as the awkwardly gangly and slightly clueless Hephaestus also stands out as consistently amusing.  The cast’s enthusiasm and commitment are evident throughout, often lifting material that is otherwise mediocre.   

Ancient Grease is a show built on a clever concept, but the production never quite lives up to its potential.  The whole thing has a faint sixth‑form end-of-year production vibe which, given the setting and subject matter, could land as a clever, deliberate gag.  Instead,  it feels unintentional, which undercuts the idea rather than enhancing it.   The promised two hours plus interval running time turned out to be nearer three, which did not exactly race by.

Written by:  Lady Aria Grey
Directed by: Dan Wye
Produced by: Susannah Bond and The Vaults
Musical Supervision: Corin Buckeridge
Choreography: Lucinda Lawrence
Set Design: Isabella Van Braechel
Lighting Design: Clancy Flynn
Sound Design: Gabriel Swarbuck

Ancient Grease plays at The Vaults until Sunday May 31.