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Live television was the norm back in the medium’s infancy, from sitcoms to soap operas, the casts and crews were usually flying by the seats of their pants when it came time to go on the air, hoping everything would go smoothly but a flub or two would happen from time to time.
As filmed programs, and then videotape, became the norm, live TV went by the wayside except for special events. Way back in 2000, CBS aired a live production of the Cold War drama Fail-Safe, and some sitcoms from time to time have gone live usually for a ratings stunt. NBC decided to bring back the era of live theatre on television in 2012 with The Sound of Music, and while a rating smash, the production got less than generous reviews.
Garnering even worse reviews was their next production, Peter Pan, and the network finally seemed to have found their footing with last year’s extremely entertaining The Wiz. NBC even decided to air the current season of Undateable live each week. Seeing NBC’s success, it wasn’t going to be long before another network decided to wade into the live theatre waters, and it seems only natural that it was Fox that took the leap (a network known for knocking off other networks’ show, sometimes even before the original even made it to the air).
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And so, Fox took the plunge and announced they would be airing a live production of the Broadway classic Grease (which most people know as a movie). So how did their first go-round fare? NBC’s productions have been decidedly theatrical, but oddly sterile with the absence of a live audience to react during the big musical numbers. Fox’s production amped things up to 11 by converting a studio lot into various sets and locations and shuttling the cast from scene to scene in what became a very cinematic production … complete with a live audience!
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The show’s sets ranged from a high school (and its various rooms) to a drive-in to a carnival. From a production design standpoint everything was flawlessly executed, right down to several costume quick changes done imperceptibly on camera (as was a massive prop change from a jalopy to a shiny roadster and back during the “Greased Lightning” number). The lighting and camera-ography (the term production used to describe all of the fancy footwork the camera crew had to do) was spectacular and smooth, even if some of the handheld work as a little too shaky at times. The audio mix was a little off at times with the orchestra sometimes drowning out the actors, and there was quite a long audio drop out during the “Hand Jive” number. But, no one missed a beat … even when Mario Lopez messed up a line, calling the TV show in the show “American Bandstand” instead of “National Bandstand.”
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The leads did a fine job performing live. Aaron Tveit is a Broadway veteran, so there was no concern that he’d have a problem, and he didn’t. He made Danny Zuko equal parts jerk and good guy, making you want to hate him when he was being mean to Sandy. Julianne Hough also brought a charming innocence to Sandy, really reminding fans of the movie of Olivia Newton-John. Some of her vocals were shaky to start and thin in places, but when she had a moment to belt a song out, she did a great job.
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Carlos PenaVega was a fine Kenicke, but the vocal standout had to be Vanessa Hudgens as Rizzo. Unfortunately, the character seemed to have been turned more into a sassy Mae West than a genuine mean girl, but she really stopped the show with her rendition of “There Are Worse Things I Could Do.” And kudos to her for having the strength to carry on only hours after the passing of her father, who received a dedication at the end of the show.
Carly Rae Jepson brought a little bit of Didi Conn to the role of Frenchy, and it was a real treat to see her in a scene with Didi Conn, now playing a waitress at the local diner. Barry Pearl, who played T-Bird Doody in the movie, also had a cameo as the scout for “National Bandstand.” Eve Plumb from The Brady Bunch was also in the show as shop teacher Mrs. Murdoch, but I completely missed that was her. And kudos to Fox for offering a diverse cast, including Keke Palmer as Pink Lady Marty, even though it’s questionable that a high school in 1959 would be that diverse (and the movie was decidedly not diverse).
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Elle McLemore stole every scene she was in as the over-achieving Patty Simcox, and Ana Gasteyer made the most of Prinipal McGee’s double entendres. Other familiar faces in the production included Wendell Pierce, Boyz II Men, and Joe Jonas and his band DNCE. Jessie J opened the show with the movie’s familiar theme song and she and the entire cast braved a bit of rain as the show started.
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But with all of the wow factor of the production and the talent of the cast and crew, there was just something a little flat about the whole thing. It was probably amazing to be on the set while it was happening, but there was just something missing overall. Perhaps the production was too overly ambitious and the mechanics of it all overwhelmed the heart and emotion of the show, perhaps more seasoned pros should have filled the lead roles. I can’t put my finger on it, but it didn’t have that electricity that The Wiz had, even without a live audience (and a star-making performance from Shanice Williams). Or perhaps with Fox’s next live production, the show should be put into the hands of a director experienced with live television (director Alex Rudzinski has directed 353 episodes of Dancing With the Stars and other live events, but does not have a long resumé with actors, and co-director Thomas Kail has no live TV to his credit, with three episodes of 2 Broke Girls his biggest credit).
When all is said and done, however, Fox has proven that a live television presentation of a musical does not have to be limited to one or two stages. Hopefully they will address any feedback they get about the production and apply to whatever they decide to do next (and while they are remaking The Rocky Horror Picture Show, that will not be live). It will be interesting now to see how or if this will influence NBC’s next live musical (Hairspray is currently being negotiated).
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