Download EDUCATION PACK - Millennium Forum

‘
IT’S ELECTRIFYING
GO GO GO!
’
Neil Sean, Sky News
EDUCATION RESOURCE PACK
© 2011 PN & DI Associates. All rights reserved.
Contents
Introduction
2
The Show
3
The Players
3
Song by Song Synopsis: Act One
4
Song by Song Synopsis: Act Two
5
Timeline of Grease 6
Rydell High Slang Dictionary
7
Style File
8
Growing Up on Grease – 1950s Teen Consumers
8
1950s American Music
8
Dancing 1950s Style
9
1950s American Fashion
10
Picture Resources
11
1950s American Motors
12
Art and Design Activities
13
Backstage Pass 14
Who’s Who – The Big Hitters
14
In Conversation with the Director and Choreographer
15
A Day In The Life of Danny Bayne and Jason Capewell
16
A Day In The Life Of The Stage Manager - Louise Cobbold
17
A Day In The Life Of The Director of Marketing - Michael Havard-Bilton
18
Wigs and Hair
19
Marketing Worksheet: Design a Poster
20
Technical Cues Worksheet
21
Set Design Activity
22
Follow Up Activities
23
Write Your Own Teenage Love Song
23
Music Worksheet: Those Magic Changes
25
Write a review of Grease
26
Further Ideas for Citizenship and Drama
27
Bibliography/ Further Information and Resources 28
1
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© 2011 PN & DI Associates. All rights reserved.
Introduction
Welcome to Rydell High where Grease is
always on the curriculum!
We hope this Education Resource Pack will be a useful
guide to Grease. In each section there are discussion
questions and activities.
The Show gives you information which might be
useful before your visit to see Grease.
Style File includes background resources about the
styles and fashions of the 1950s.
Backstage Pass will enable your students to find out
more about the process of creating the show. These
pages are particularly suited to BTEC or Vocational
GCSE Performing Arts Business modules.
Curriculum areas and Key Stages are indicated as a
guide, but most activities can be differentiated to fit
the needs of students from the top of Key Stage Two
up to and including post 16. The Slang Dictionary
page is not suitable for pupils below KS3.
Images Photos are from the 1978 Paramount Film,
the current production and previous productions of
the stage show of Grease.
Additional Resources Grease Is The Word, the
original London Cast Recording and Grease, the DVD
by Paramount Films are both widely available.
Enjoy the show!
Follow Up Activities include Writing a Review and
classroom sessions for Drama and Citizenship.
2
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© 2011 PN & DI Associates. All rights reserved.
The Show
Vince Fontaine: local radio star and band leader,
Vince wows the girls at the school dance.
The Players
Miss Lynch: harassed Head Teacher at Rydell High,
she struggles to keep order amongst the kids – but is
not always successful.
Eugene & Patty: the school nerds, always willing
to help the teachers and get everyone organised, are
universally disliked by all the ‘cool’ kids. Patty heads
the cheerleading squad and is keen to be Sandy’s
‘best’ friend.
Cha-Cha: a great dancer with a bad reputation, she
wins the school dance competition with Danny and
distracts him from Sandy.
Danny: the coolest kid in school, Danny is a
founding member of the T-Birds. His aims in life are
looking good, being surrounded by pretty girls and,
above all, being cool.
The Teen Angel: a figment of Frenchie’s imagination,
he tells her to return to high school as she is not cut
out for beauty school.
Sandy: new in town, she is a good girl (like Doris
Day) but is desperate to fit in with the crowd and
find someone to love.
Kenickie: Danny’s best friend and leader of the
T-Birds, he lives for his car and hanging out with
the gang.
Rizzo: top girl in school and leader of the Pink
Ladies, she does what she pleases and has a hard shell
with a well hidden soft centre.
The T-Birds: Roger, Sonny and Doody may not be
the brightest sparks but they know enough to hang
with the cool guys, learning a lot about girls along
the way.
The Pink Ladies: Jan, Marty and Frenchie make
up the Pink Ladies and are all devoted to love and
romance. Frenchie longs to be a beautician, while
marriage is the ultimate goal for the others.
3
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© 2011 PN & DI Associates. All rights reserved.
The Show
Song by Song Synopsis ACT ONE
G
Prologue: Sandy
The summer holidays are over for the
students of Rydell High School and Sandy
is trying to fit in to her new school. She’s
still dizzy from her summer romance with
Danny Zuko, whom she met on the beach,
while the cats and chicks of Rydell High
are all pleased to see each other again.
G
Grease
Danny and Sandy tell their friends about a certain
summer romance, but what they don’t realise is that
they are about to be re-united.
G
Summer Nights
Despite his happy memories, Danny’s all wrapped
up with his friends and he’s not about to lose his
reputation for playing the field. So when Sandy turns
up, Danny pretends not to know her.
Love is in the air for all the friends: as Doody attempts
to strum a tune, the guys join in, contemplating the
fact that they are all growing up.
G
Greased Lightnin’
Meanwhile, Sandy wonders if she would fit in better
with the cheerleaders, led by squeaky clean Patty, but
Danny turns up and there is an awkward moment of
‘history’ between him and Patty. Danny announces
he might try out for the track team, but is it to
impress Patty or Sandy?
G
Rydell Fight Song
The friends all meet up on the football field and
romance blossoms between Roger and Jan.
G
G
The Pink Ladies, the hippest girls in school,
reluctantly take Sandy under their wing and invite
her to a pyjama party, although hard-nosed Rizzo
remains antagonistic towards her.
Rizo and Kenickie start arguing. Sandy appears with
the school nerd Eugene, and Danny once again
fails to hide his feelings for her from his friends. The
school dance is the hot topic of conversation, and as
everyone tries to secure their date, Danny asks Rizzo
out. Act One ends with a celebration of friendship.
Those Magic Changes
Mooning
G
Look At Me I’m Sandra Dee
Kenickie has been working all summer to buy a car
and although it looks like a heap of old junk, he and
Danny persuade the boys it could be a babe magnet
and they dream of transforming it.
G
We Go Together
4
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© 2011 PN & DI Associates. All rights reserved.
The Show
G
Song By Song Synopsis ACT TWO
Things aren’t working out too well for Frenchie either,
so she calls on her Teen Angel for some advice.
Hopelessly Devoted To You
Local DJ Vince Fontayne is hosting the High School
Hop where everyone is strutting their stuff.
G
Shakin’ At The High School Hop
Jan gets a big break singing in the talent contest,
while Sandy is missing out as she is stuck at home
with a head cold.
G
It’s Raining On Prom Night
Danny and Kenickie swap dates just before the dance
contest and Danny goes on to win with Cha-Cha,
champion dancer.
G
Born To Hand Jive
G
Beauty School Dropout
Danny takes Sandy to a drive-in movie and it’s going
well until he makes a move on her and then takes
it too far. She storms off and leaves him wondering
how to get it right.
G
Sandy
The atmosphere is sour when the gang all meet up at
the garage. Sandy is hoping to see Danny, and Rizzo
thinks she may be pregnant. The two have a row and
Sandy’s sympathy for Rizzo is brushed off.
G
There Are Worse Things I Could Do
Sandy knows she has to make some changes.
Meanwhile, Sandy is all alone and facing up to the
fact that she still loves Danny.
G
Look At Me I’m Sandra Dee – reprise
Everyone gets the shock of their lives at Sandy’s
transformation.
G
You’re The One That I Want
Rizzo’s pregnancy turns out to be a false alarm,
the mood is up and everyone can celebrate
being young and in-love.
G
FINALE
Gre
In 197 ase Fact:
8 You’
re The
That I
One
Want
spent
9 wee
ks at t
he
the ch
arts, f top of
ollowe
by 7 w
d
eeks f
or
Summe
r Nigh
ts.
5
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© 2011 PN & DI Associates. All rights reserved.
The Show
Timeline of Grease
1970
At a cast party, Jim Jacobs
and his friend Warren
Casey come up with the
idea of a show featuring
music from the 1950s,
the golden age of Rock
and Roll. Jacobs decides
it should be about the
kids he went to high
school with. Soon
after, Casey is fired
from his job and so
with time on his hands, he sits
down at his typewriter and Grease is born.
5th February 1971
Jim Jacobs and Warren Casey mount their first
production of Grease in an experimental theatre in
Chicago. With a non-professional cast of 18 and a
budget of only $171, the “four night only” run plays
to full houses of 120 each night, and then the run is
extended again and again…
14th February 1972
Grease opens in New York, off-Broadway at the Eden
Theatre. It receives seven Tony nominations after the
producers threaten to sue the awards committee for
saying off-Broadway shows can not be nominated.
The show moves onto Broadway proper and goes
from strength to strength.
1971/ 1972
A national tour of Grease crosses the US and Canada
with a seventeen year old called John Travolta playing
Doody, the nerdy kid who idolises Danny.
1978
John Travolta hits the big time playing Danny Zuko
opposite Olivia Newton John as Sandy in the smash
hit film from Paramount Pictures.
1993
David Gilmore directs and Arlene Phillips choreographs
the London production of Grease which opens at
The Dominion Theatre, starring Craig Maclachlan as
Danny Zuko. This version has played ever since in
London, on tour in the UK and across the world.
1997
Grease goes on a UK tour
starring Shane Richie and
then Ian Kelsey as Danny.
1999
After 6 successful years,
the London production
of Grease closes at the
Cambridge Theatre.
2007
Grease re-opens in London at The Piccadilly
Theatre, starring Danny Bayne as Danny Zuko and
Susan McFadden as Sandy (both winners of the
ITV programme Grease Is The Word). Grease also
re-opens on Broadway in New York at the Brooks
Atkinson Theatre on July 24, starring Max Crumm as
Danny Zuko and Laura Osnes as Sandy (both winners
of the US/NBC reality series Grease: You’re the One
that I Want!).
1973
The first London production opens at the New
London Theatre with a then unknown American
actor, Richard Gere, as Danny Zuko and Stacey
Gregg as Sandy, followed by Paul Nicholas and
Elaine Paige in the lead roles.
2009
On January 4, the Broadway production of Grease
closes after 31 previews and 554 performances. In
July, the London production of Grease becomes the
longest running show at The Piccadilly Theatre.
Grease Fact:
The first scene to be written was
the girls’ pyjama party scene
2011
The London production of Grease closes on April
30 having played over 1,500 performances and
immediately begins its new UK tour.
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© 2011 PN & DI Associates. All rights reserved.
6
The Show
Rydell High Slang Dictionary
Cats and Chicks: guys and girls, but kittens are also
girls, as in “throw your mittens round you kittens”
Foam Domes: or falsies, something to make a girl’s
bust look bigger
Fongoole or fongulo: Italian-Americanised
mispronunciation of the phrase “Va’a fare in culo”.
The nearest printable English equivalent is “up yours!”
Hand-jive: a dance where everyone lines up and
follows a sequence of hand movements in time to
the music
Hickey: a red mark on the skin, otherwise known as
a ‘love bite’
Hop: a dance or school disco
Jive: Jazz slang from the 1930s and 40s. The
language of “swing” came to mean everything that
was hip, including a dance and musical style of the
same name.
Jocks: athletes, from the term jockstrap
Neat: terrific
Prom Night: a dance party or disco to mark the end
of high school, now common in the UK too (possibly
because of the wide influence of Grease and other
American teen movies)
I play it cool
And dig all jive
That’s the reason
I stay alive.
By Poet Langston Hughes
Who’s Who? Research Activity
The six famous fifties icons listed below all get a mention
in the script of Grease. What were they famous for?
Choose one of them to research and feed your findings
back to the group, or write a short piece about them for
a 1950s retro magazine.
Elvis
Debbie Reynolds (and who was her famous daughter?)
Sandra Dee
Ricky Nelson
Shelly Farbares
Doris Day
7
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Style File
Growing Up on Grease:
1950s Teenage Consumers
Curriculum Links: History, Historical and
Social Context for Performing Arts/Drama
For Jim Jacobs the word “grease” seemed exactly the
right title for his show about 1950s teenagers. Until
1950 the term “teenagers” had barely been heard of.
There were children, who briefly became youths and
then at eighteen were considered adults, winning the
full legal responsibilities of adulthood at twenty one,
by which time many were married or on the way to
being married and raising a family.
After the war a new range of consumer goods
became available as teenagers had spending power,
either because they had jobs of their own or because
their parents were enjoying America’s new prosperity.
Television, cinema, magazines and music were all
deliberately targeted at this age group, who began
to carve out an identity of their own, in stark contrast
to the culture of their parents. In Grease, Jacobs
and Casey created a community of teenagers which
functions entirely separately from the adult world.
Greasy Food: The Diner
The burger palace is typical of the cheap restaurants
which were popular across America in the 1950s. The
diner was the predecessor of the fast food outlets
we have today. Usually pre-fabricated buildings or
converted railroad carriages (the original diners were
not stationary, they were actually dining cars on the
railway) 1950s diners often used steel panels, tiled
floors and chrome trim. They served what would
now be considered an unhealthy menu of burgers,
fries and various milkshakes, ice creams and sundaes.
Greasy Hair
Oily quiffs held up with brill cream were the hairstyle
of choice for “greasers”- the leather jacket and blue
jean clad rebels of teen America. In the UK the nearest
equivalent was the “teddy boy” who took a similar
amount of care in his appearance and competed
with his mates to achieve the biggest, most luxurious
quiff. For more information of what’s involved in
recreating the 1950s hair for Grease go to Backstage
Pass: Wigs and Hair.
Cool Custom Cars
More grease and motor oil involved here, see Style
File: 1950s American Motors for further information
on icons of American motor design.
1950s American Music
Curriculum Links: Music, Music
Technology, Media Studies Level: KS3/4/5
a
VINCE
BEFORE I WAS BORN LATE ONE NIGHT
MY PAPA SAID EV’RYTHING’S ALL RIGHT
THE DOCTOR LAUGHED WHEN MA LAY DOWN
WITH HER STOMACH BOUNCIN’ ALL AROUND
’CAUSE A BE-BOP STORK WAS ’BOUT TO ARRIVE
AND MAMA GAVE BIRTH TO THE HAND JIVE
The DJ
The term was invented in America in the 1930s from
the word “disc” (record) and “jockey” which was
slang for someone who operated a machine. They
were the kings of the airwaves through the 1940s
and early 50s, when every American home had a
radio.
Who Invented Rock and Roll?
The phrase “Rock and Roll” was attributed to
American Radio DJ Alan Freed, but he did not actually
invent it. There are examples of it being used as far
back as the 1920s in song lyrics by Ella Fitzgerald,
Cab Calloway and others. It was a useful term
for marketing Rhythm and Blues (R&B), previously
considered an African American musical style, to
young white audiences.
Rockabilly
Rockabilly is a term that was also coined in the 1950s
to describe music which was a cross between R&B and
hillbilly music (the old folk music of white America).
8
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© 2011 PN & DI Associates. All rights reserved.
Doo-Wop
Several songs in Grease employ Doo–Wop or
nonsense lyrics. Jacobs and Casey had fun parodying
some of the excesses of this style, particularly in
We Go Together.
WADDA WADDA YIPPITY BOOM DE BOOM
CHANG CHANG CHANGITY CHANG SHOO BOP
THAT’S THE WAY IT SHOULD BE, WAH-OOO YEAH!
An earlier example of Doo-Wop can be found in
Dizzy Gillespie’s 1947 hit “Oop Boop Sh’Bam” which
was full of meaningless sounds used to mark the
beats and create a vocal background. In the 1930s,
sounds like “boo-wop, boo-wop” were used by vocal
groups to imitate the horn sections of jazz bands.
Activity
Is Vince Fontayne typical of a 1950s DJ? Research
the history of disc jockeys to the present day and
see how they have evolved.
Lindy Hop: Sometimes described as the grandfather
of both Rock and Roll and modern swing, the Lindy
Hop was named after Colonel Lindbergh’s flight
across the Atlantic. It originated at the Savoy ballroom
in Harlem in the 1930’s. It is a partner dance which
brings together improvised African dance and the
eight count structure of European styles.
Jitterbug: A ballroom style swing with a triple step
pattern.
The Twist: In repressed and segregated 50s
America, white girls were not supposed to wiggle
their hips, and it certainly wasn’t going to be shown
on prime time TV. Chubby Checker’s recording of
The Twist was specifically tamed down for American
Bandstand, as the original version from the Swing Era
had required a lot more hip action.
Dancing 1950s style
Curriculum Links:
Dance, Performing Arts
Thousands of American teenagers watched the hit
show ‘American Bandstand’ in their living rooms
and learnt to copy the amateur studio dancers.
New styles of dance began developing both on and
off the screen, and soon high school dances across
the country were moving to the steps of Rock and
Roll. The Bandstand dancers called it Fast Dance
as it employed a six count pattern (two tap-steps
followed by a rock step). These moves were
constantly being adapted throughout the 1950s.
Cha Cha: The Cha Cha has a triple-step movement
and is believed to have come from Cuba, as a
development of the slow tempo “Mambo”.
Jive: A six count swing dance that is open to
improvisation.
9
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© 2011 PN & DI Associates. All rights reserved.
Style File
1950s American Fashion
Curriculum Links: Art, Design Technology
- Textiles, BTEC Performing Arts/Technical
Theatre/Costume. Level: KS3, KS4, BTEC
Influences
The styles of 1950s fashion have their roots in the
post war period. After the shortages and austerity
of the Second World War, when fabric had been
rationed, a lavish use of material burst onto the
scene. In 1947 the French designer Christian Dior
presented a collection featuring a fitted jacket with a
nipped in waist and full calf length skirt, which used
meters of fabric. Life magazine called it “The New
Look”. In the film of Grease, Sandy’s early look of a
fitted blouse under a light weight cardigan with a full
skirt underneath is an adaptation of “The New Look”
which found favour with American and European
women. The fullness of the skirt could be further
emphasised by large petticoats made from layers of
nylon or starched paper.
Men
The rebel look, as worn by movie stars James Dean
and Marlon Brando, consisted of denim jeans, which
had made the transition from work wear to fashion
only a decade earlier, and leather jackets. This
contrasted with the attire of the more conventional
young men who wore a jacket and shirt like their
fathers – or the sportswear worn by the ball playing
“jock“.
Hair
During the 1950s, women’s hairstyles were
transformed from the simple, smooth pony tail to
the ultra “done” look of the beehive. It was the era
where hairdressers and beauty salons really took off
- Frenchie wasn’t the only one trying to capitalise
on the new found leisure spending of the American
public. For more information of what’s involved in
recreating the 1950s hair for Grease, go to
Backstage Pass: Wigs and Hair.
In America, and later in Britain,
other influences began to dilute the
Dior style, such as sportswear. The
“windcheater” jackets worn by the
Pink Ladies were based on men’s
work jackets and gym shoes were
worn by young women instead of
heels.
After 1956, the continental “chic”
look became popular, with short
haircuts and simple lines. Influenced
by stars such as Audrey Hepburn and
Leslie Caron, it included simple black
sweaters and slim trousers. Rizzo
stands out as a truly modern girl with
her short hair, tailored shirt dress and
figure hugging skirt.
10
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Style File
Picture Resources
11
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© 2011 PN & DI Associates. All rights reserved.
Style File
1950s American Motors
Curriculum Links: Art and Design,
Design Technology
The 1950s saw the birth of the jet age, when
advances in aeroplane design inspired normally
mundane family cars to begin sprouting wings and
fins and extra tail lights to imitate jet engines. New
technologies enabled curves and forms which had
not been possible before.
The sweeping lines of body work and slick chrome
detailing were replicated in designs for everyday
household items such as toasters, hair dryers and
coffee percolators.
This
car
one could be
co
of m ol piece
ac
Why hinery.
this
coul car
d
Auto be:
mati
S
c
y
ste
Why
it’s G
Hydr matic
reas
ed L omatic
ightn
in’!
12
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© 2011 PN & DI Associates. All rights reserved.
Style File
Art and Design Activities
Design Technology Activity
•
•
•
Research the elements of 1950s car design, for example fins, jet engine shaped
rear lights and the line of the bodywork.
Adapt them for your own design, showing how you would use modern methods to
create a 1950s retro-look car.
As part of your portfolio, collect images of modern cars which use elements of
1950s styling.
Art Activity: Greased Lightnin’ Pop Art
•
•
•
•
•
Look at the pop art painting Whaam! (Roy Lichtenstein 1963).
Research into the jet inspired shapes of the 1950s and early 60s for preliminary
sketches.
Create your own pop art painting, with at least two frames, showing the
transformation of the T- bird’s car, Greased Lightnin’.
Let you imagination run wild on how the car might turn out!
Extension activity: what happens next? Can you create an extended cartoon strip
featuring Greased Lightnin’?
Costume Design
•
•
Design your own outfits for the Pink Ladies. Research the period details of
shoes, belts, trousers or skirts. Make a scrap book of pictures, fabric swatches and
colours before you create your final costume drawings.
Bring Sandy up to date – if she was a modern teenager, how would she be dressed
when she first comes to Rydell High? How would you transform her for “You’re
The One That I Want”? Create two contrasting costume drawings, describing what
kind of fabrics you would use.
13
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Backstage Pass
Who’s Who: The Big Hitters
Who?
The Job
The Brief Biog
Jim Jacobs and
Warren Casey
Writers
Jim has worked as an actor and writer, while Warren was
a teacher, then an actor and songwriter. Jim and Warren
co-wrote the book, music and lyrics for Grease. Together
they also wrote Island Of The Lost Co-Eds, a musical
satire of the B-movies of the 1950s. Jim has gone on to
co-author several plays and musicals. Sadly Warren died
in 1988.
David Gilmore
Director
David has directed more than a dozen West End shows as
well as many shows in Australia. His original production
of Grease ran for six years in London. He has directed
musicals, straight plays, Shakespeare and comedy and he
also directed Jamie Oliver’s performances in England and
Australia.
Arlene Phillips
Choreographer
Arlene created the dance group Hot Gossip and since then
her choreography has been seen in theatre, feature films,
concert arenas, television, music videos and commercials. A few of her theatre choreography credits include Grease,
The Sound of Music, We Will Rock You, Starlight Express,
and the US touring productions of Joseph and Jesus Christ
Superstar. Arlene appears as a judge on BBC1’s hugely
popular Strictly Come Dancing and she judged the followup series Strictly Dance Fever. In 2007, together with
Bruno Tonioli from Strictly Come Dancing, they created a
new BBC1 show DanceX.
Terry Parsons
Designer
Terry has designed thirty seven productions in the West
End. As well as his famous design for Grease, he has
also designed for hundreds of musicals, pantomimes
and straight plays. His most unusual job was creating a
spectacular version of Arabian Nights in the desert for
three thousand guests at the birthday of an Arab sheikh.
Andreane Neofitou
Costume Designer
Andy has created costume designs for numerous West
End shows, including Les Miserables and Miss Saigon, and
has also worked for many years at The Royal Shakespeare
Company. Internationally her credits include New York’s
Metropolitan Opera, Miss Julie in Athens and Cameron
Mackintosh’s new version of Martin Guerre in the United
States.
14
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© 2011 PN & DI Associates. All rights reserved.
Backstage Pass
In Conversation With
Director David Gilmore and
Choreographer Arlene Phillips
past on stage now it would be greyer and duller and
smaller. What we have done is to show the past in
a distorting mirror – it’s bigger, better, livelier and
funnier than the reality.
Q: How have you been influenced by the film
of Grease?
DAVID: I saw the film once. The film re-defined the
stage show for all time. You have to take that into
account.
Q: What makes Grease such a special show?
DAVID: Its verve and energy and such toe-tapping
tunes.
ARLENE: This show has the hottest dancers in town
and the best singer-actors with voices that everyone
will wish they owned.
DAVID: The casting is inspired.
ARLENE: It’s been fun teaching the company to
dance – they weren’t all dancers but they’ve been
eager to learn.
DAVID: The set and costumes have been designed
by Terry Parsons and Andreane Neofitou, who are
two of the most talented people in the business, and
they’ve achieved wonders.
Q: How do you create a 1950s feel for a
modern day show?
ARLENE: We’ve done a lot of research into the 1950s.
ARLENE: The film is part of my life. I’ve watched it
many, many times with my daughter, Alana. It’s a
lot of fun. One is aware that Grease is now part of a
cult and the audience is expecting what they know.
We’re hoping that this production will inspire them
to keep the cult going.
Q: Have you had any help from Jim Jacobs?
DAVID: Jim has come over and made changes to
the script to enhance what was already there – we’ve
done that together.
ARLENE: There were some changes made to the
script for the modern day audience.
Q: Is there anything you would like to add?
ARLENE: I’ve loved working on this production. It’s
great to do a show with lots of dancing in it.
DAVID: Grease doesn’t have a message. It gives you
a flavour of being a teenager in the 1950s – when
Rock ‘n Roll and putting grease in your hair were the
most important things in life. If people come along
to the show and take it on that level then we’ll give
them a party. In fact, if you come out of the theatre
feeling that you’ve been to the best party in town,
then we know that we’re getting it right.
DAVID: What we are giving the public is what they
think that they remember, because the past was not
actually how people remember it now. If we put the
15
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Backstage Pass
A Day In The Life Of Jason Capewell
- Resident Director
A Day In The Life Of Danny Bayne
- Danny
I just love being on the road with a show, it’s such a
buzz, travelling the country and seeing new places every
week. How many people get the chance to do a midnight
ghost tour round Edinburgh one week, then a tour of the
Guinness Brewery in Dublin the next. We are so lucky.
But it’s not all fun and sightseeing, of course. I tend to
get up early each day but lots of theatre people sleep
late, and sometimes it is necessary to make sure you
get enough rest so that you are fit and healthy to do
the show. It can be tempting to go to the pub every night
- but your voice suffers if you do.
My average day would start around 10 to 10:30am.
I have to be up early so my voice is fully matured
and warm for the show at night. Once awake, I like
to have a cup of tea, then it’s straight into the
shower to start my day. I stay in the shower for quite
some time warming up my voice and waking up.
My passion, other than theatre, is golf, so I’ll
normally grab my golf clubs and head off to the
nearest golf course. I’ll usually spend around 4 hours
playing, and then head home for dinner.
Dinner will usually consist of a high carb and high
protein diet, but I have to try and keep it low in
fat so I can look good on stage and still keep my
energy high.
Then if there’s time I like to watch a movie or one
of my favourite shows before heading off to work.
At 6:15pm an announcement is made for warm
up on stage, where the whole cast meet and do
a full physical and vocal warm up. Then I am raring to
go. So I head to the dressing room, do my hair and
make up, put my costume on an head to the stage.
After the show, Ill possibly go for a drink, but
usually it’s straight home and into bed by 1 to
1:30am. Glamorous, eh?!
My role combines being the Resident Director and playing
Vince/Teen Angel during the show. The Resident Director
is the person who makes sure everyone’s performances
stay exactly as they should from week to week. It is easy
for small changes to creep into a performance over time
and it’s my job to make sure people stay on track. I also
have to rehearse the understudies so that if someone
gets injured or sick their understudy is ready to go on
and perform. Most of this work is done in the first three
weeks of a production but after that we have regular
‘understudy rehearsals’ just to keep everyone on their
toes. Understudies do have to perform, more often than
you might think. We might have an understudy rehearsal
every two to three weeks and a general ‘clean-up’ call
every couple of weeks when I give the company notes.
There aren’t any ‘normal’ days because the schedule is
always changing. When we arrive in a venue, I’ll spend
the afternoon before the first performance finding my
dressing room and looking at the stage to see if we need
to change, or ‘reblock’ any of the movements. Later in
the afternoon the rest of the cast will do a sound check,
then we might run a few bits and pieces. Then it’s a
matter of having a quick bite to eat and getting ready
for the show.
After the show has opened in a new venue, the days fall
into a pattern of me-time, rehearsal-time, show-time then
sleep. Everyone has their own routine and their own way
of coping with being away from home for long periods.
The touring company become your extended family in
a way and you spend much more time with them than
you would in a normal job. Often we’ll spend days off
and travelling days together too. It can be great, but it
can also be difficult at times. But I love the job: I love
the variety and the challenges you have to deal with
every day. Don’t ever ask me to work nine to five!
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Backstage Pass
A Day In The Life Of The Stage
Manager - Louise Cobbold
Touring a theatre production the size of ‘Grease’
takes a great deal of organisation and demands
the show be flexible and versatile….exactly what’s
expected of me, the Stage Manager, in order to keep
everything running smoothly.
During a tour I have a meeting with all the other
production departments (Sound, Lighting or ‘LX’,
Wardrobe and Wigs) in the final week at each theatre
to sort out the order in which everything is to be
packed onto the five articulated lorries we have.
Like most of the shows this size we’re completely
self-sufficient; we take everything we need to run
the show. It’s now Saturday evening and we’re
getting ready for the last show at this theatre
before we move to the next one.
At approximately 10:30pm, the show’s finished and
each department has already started packing up the
show behind the scenes. We pack the large scenery/
prop items such as the Greased Lightning car into
the first lorry. The smaller props are then loaded
into skips, which we transport and are similar to a
bookcase with doors! I then ask for the Wardrobe
department to have their boxes of costumes ready to
load next. Wigs come after with all of the wigs pinned
onto ‘blocks’ (similar to shop mannequin heads) and
stored within a shelved bookcase on wheels, like the
skips we use for the small props. I then help load in
the main parts of the set with the crew and ask the
flymen who operate all the ropes for the flown pieces
of scenery to start lowering in each piece, which
is then de-rigged and packed onto the lorry. The
stage space is then almost empty and finally, we’re
all packed up and ready to go! The theatre has been
cleared and the lorries are well on their way to the
next theatre ready to be unloaded. Time to catch
some sleep and travel to the next theatre!
The next day around 12pm, I’ve arrived at the
next theatre with parts of the set already in place
having been put together by some of the local crew.
I meet the stagedoor keeper and the local crew and
quickly take a moment to get my bearings around
backstage. I need to know where the dressing
rooms are, the route the performers will take to and
from the stage and find out where the Wardrobe
and Wig depts. are located. I return to the stage
and help unload the majority of the large props/
scenery with the crew. This is usually a very busy
time as there are many things to try and coordinate
at once with the added pressure of time. Usually the
most difficult part of the afternoon is working out
where all the large scenery items are to be stored
backstage, ready for scene changes. This is where
the touring aspect of the show becomes interesting!
What worked in the last theatre may not work at
all in this one as all the backstage space is usually
completely different.
At 4pm, the performers are due to arrive any minute
and I’m seeing to the final touches around the stage.
I’m responsible for the Health and Safety on and
off stage so I walk round and check for hazards
such as loose electric cables. I check entrance/exit
doors onto stage are clear and that everything is safe.
Once the performers come to the stage, I talk through
a stage orientation, which is my chance to highlight
differences from the previous theatre we’ve just
come from. This time has to be carefully scheduled
as many departments will need this time with the
performers and there’s a lot to get done.
After a dinner break, the performers are called to
the stage for their physical and vocal warm-up.
‘Grease’ is an extremely energetic and physically
demanding show so it’s very important that the
performers warm-up properly to avoid injuries.
Myself and the DSM are around in case anyone
has any further questions or if any issues have arisen
that we can deal with.
At 6:55pm, the performers have gone back to their
dressing rooms to start getting ready and I liaise with
the Front of House Mgr and ‘open the house’ (let
the auditorium doors be opened for the audience to
come in). The ‘Half Hour call’ tells the company that
we have 30minutes until they are called to the stage
to start the show. A call happens again at 7:10, 7:20
and 7:25pm to let the performers and crew know
how many minutes are left until show time.
Once we’ve had ‘clearance’ from the FOH Mgr that
all the audience are in and seated in the auditorium
we start the show! I stay backstage throughout the
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show and am there to oversee the performance.
I have a few cues to do but mainly I’m there to make
sure everything runs smoothly and if it doesn’t it’s
up to me to sort it out! A very big interval change
which takes all the crew and Stage Mgt. occurs, and
the second half of the show starts around 8:45pm.
After the show finishes near 10pm, I get details
of tonight’s show (including the timings of both
halves of the show plus anything which may have
happened such as errors made or any understudies
that may have been performing) and I compile a
show report. This is done after every show and is
a way of communicating what happened during
tonight’s show to all the people who are involved,
such as the Director. Finally, I change out of my
‘blacks’ (black coloured top, trousers and shoes
which I wear backstage during the show) and am
ready for my bed!
A Day In The Life Of The Director of
Marketing - Michael Havard-Bilton
I leave my flat at 7.30am and take the tube to work,
which normally takes about 15 minutes, depending
on the service. If I’m feeling energetic I’ll take the
bus to the Aldwych and then walk through Covent
Garden.
After saying hello to my tropical fish, and making
my first coffee of the day, I’m normally sitting at my
desk by 8am and checking my Inbox; this gives me
a good hour of quiet thinking-time before the phone
starts ringing.
I get more than the average number of overnight
e-mails, as I receive all the sales reports from the
previous night’s performances, and the advanced
sales reports for forthcoming performances. A
careful scan of these reports helps me focus the
marketing effort accordingly. I make a point of using
spreadsheets for campaign plans, budgets, targets
and sales figures. The effort of updating a cumulative
sales spreadsheet, for example, is amply rewarded by
the strategic benefits it provides in forward planning.
of particular pages; see which search terms people
are using to find our sites; and find out where in the
world our visitors are based.
From 10am the day becomes a whirl of activity. The
major part of my job is creating the Sales, Marketing
and PR campaigns for our productions. I’m able
to draw upon a great team of people to assist me,
most of who we’ve worked with for many years:
designers, advertising agencies and PR agencies, all
working together to devise the most effective and
cost- efficient campaigns for the various productions
we produce, co-produce and/or manage.
A typical day will include dealing with phone calls
and other immediate demands; responding to
urgent e-mails; working on one of our productions’
websites; dealing with individual campaign needs,
such as Advertising, Online, Outdoor and Direct
Mail; attending a campaign planning meeting with
one of our agencies; brainstorming ideas for new
ways to sell our shows; discussing some element of
a campaign with the producers; participating in a
conference call with the marketing team at one of the
touring theatres; instructing the graphic designers; or
copywriting and proof-reading a new flyer or advert.
As well as running the marketing department, and
looking after Grease (UK & International), The
Sound of Music, The Bodyguard, Chicago and Steel
Magnolias. I am responsible for DIP’s archives, the
company’s website and the office IT; so every day
brings new challenges of one kind or another and
the diversity of these tasks keeps me extremely busy.
By 5.30pm the phones have quietened down,
allowing me some time to reflect on what has been
achieved during the day, and to think ahead to the
next. This is a great time for tackling paperwork
and generally working through some of the more
routine elements of the job, such as clearing invoices,
updating the budgets and responding to non-urgent
requests. The last thing I do each day is to tidy my
desk and jot down a list of things for the following
day. I’ll then shut down my PC & Mac, feed the fish,
and either head for home or an evening out at the
theatre.
Next, I’ll review our web statistics, looking mainly
at numbers of unique visitors, pages viewed and
activity times. Using these statistics, I can measure
the response to promotions; identify the popularity
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Backstage Pass
Wigs and Hair
Curriculum Links: BTEC Performing Arts,
Technical Theatre, Performing Arts
Business
The Wigs Mistress has a very important role in
creating the perfect 1950s look. Each wig is made
to measure. To get an exact fit, clingfilm is wrapped
around the actor’s head and their hairline is drawn
on. Sticky tape is then added over the clingfilm to
create a mould of their head.
The wigs are constructed and coloured by
outworkers, usually using Asian hair as it is the
strongest. The Wigs Mistress and her assistant then
cut and style the wigs, remembering to leave a
little hole in the front for the microphone. All the
wigs in Grease use human hair except the “Beauty
School” girls who wear acrylic wigs.
Before each show the actors pin or
glue their wigs in place
and the Wigs
Mistress is on
hand to check
everything looks
right. During the
performance she
and her assistant
work
backstage,
keeping the wigs
tidy and helping
with any changes.
The most hectic
times are the changes
for “Beauty School
Dropout” and Sandy’s
final transformation.
After the show they need to care for and re-style the
wigs ready for the next day.
Fortunately the men all look after their own hair, but
only after they have had lessons in quiff combing!
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Backstage Pass
Marketing Worksheet: Design
your own poster for Grease
Curriculum Links: BTEC Performing Arts,
Technical Theatre, Performing Arts
Business
CHECKLIST
Image: does it grab people’s attention? What does
it say about the show? What colour scheme suits
the show? The Marketing Department for Grease
often use a pink background, however you could
experiment with something different.
Graphics: what style do you want to use for the
text? Does it fit with your image? Is it easy to read?
Information: what does your poster need to tell
people? Remember, your objective is to encourage
people to buy tickets and come to the theatre, so
think about what they need to know.
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Backstage Pass
Technical Cues Worksheet
Curriculum Links: BTEC/GCSE Performing
Arts/Drama Technical Theatre
The lighting operator will have a list of numbered
lighting cues to work from. They take their cues
from the DSM (Deputy Stage Manager) who is “on
the book”, i.e. following the script in the wings.
In the extract below they take their cues from the
Musical Director to ensure the lights change exactly
on the right beat. Most lighting cues will be preprogrammed into the computerised lighting board.
Using the key below, write out in full the bold lines to
describe what the DSM is instructing.
DSM: SBY LX Q110 to 114, SPOTS, PYROS AND FLY Q12
Each operator should then acknowledge the SBY so that the DSM knows that everyone is ready to carry
out their Q.
Music: Dancing interlude
Chorus:
Lightnin’
LX Q110 (on MD downbeat)
Lightnin’
LX Q111 (on MD downbeat)
Lightnin’
LX Q112 (on MD downbeat)
Kenickie: Anybody want a ride?
LXQ113 (on MD upbeat at end of line)
Chorus: Lightnin’ (actors hold long final note as car drives off SL and music plays)
LX Q114, SPOTS, PYROS AND FLY Q12 (on MD cut off)
The last cue is for the change between scenes. This is what happens when each of these cues happen. LX Q114 goes to DBO, SPOTS go off, PYROS go off DS, FLY Q12 brings in mid-stage sky cloth for next
scene.
Key
DSM
LX
Q
SPOTS
PYRO
FLY
MD
Downbeat
Upbeat
first SL
Cut off
DBO
DS
Deputy Stage Manager
Lighting
Cue
Followspot
Big indoor fireworks
Item of scenery suspended above the stage
Musical Director
When the MD moves his conducting baton vertically down to show the first beat in a bar
When the MD moves his conducting baton vertically up to show the beat before the
beat in a bar
Stage Left
When the MD signals in one gesture for the musicians to stop playing at the same time
Dead Black Out
Down Stage
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Backstage Pass
Set Design Activity
Curriculum Links: Art and Design, BTEC Performing Arts/Technical Theatre/Set Design.
Level: KS3, KS4, BTEC
• Gather research about the look of the 1950s from books, the internet or resources supplied by
your teacher and start to make a scrapbook of shapes, colours and items of set (e.g. cars,
furniture, decorations for the school dance).
• Think about the size and shape of the stage you will use, for example if it is the school stage,
measure it so that your drawings are to scale. Theatre models are normally done on a scale of 1:25.
• Choose a particular scene from Grease and create a drawing which is a “bird’s eye view”, showing
the shape of the stage and where items of set are placed.
• Now think about the background - how will you design a backdrop that will suit the other visual
elements on stage?
• Create you own model box by turning a shoe box on its side and painting or lining it in black.
Then make a scaled down set to fit inside, using the same shapes and colours you would choose
if it were full scale.
Doodle pad for set design ideas
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Follow Up Activities
Write Your Own Teenage Love
Song – even if you’re not a
musician
Curriculum Links: GCSE/GNVQ/BTEC
Music, Performing Arts
Where to begin
Start by listening to love songs that you like - what is
it about them that rings true? What is the structure
of the story they tell? Grease is like a long extended
love song; boy meets girl but then boy messes it up
by trying to be cool, girl’s heart is almost broken but
in the end girl makes boy see that she’s worth it,
and they fall in love all over again. There is a happy
beginning, a middle where it all goes wrong and a
happy ending. Of course your song might not have a
happy ending - that’s up to you. What do you want
to tell the world about how it feels to be a teenager
in love?
having – it won’t be full of the usual padding we put
into real life conversations as they haven’t got time
for that in a four line verse.
The Structure
This will vary, but an average pop song of three to
four minutes in length will follow a form something
like this: verse/chorus/verse/chorus/bridge/verse/
chorus or intro/verse/chorus/verse/chorus/bridge/
instrumental/outro. From the 1950s onwards the
structure of popular songs went through many
changes as “rules” were broken, however listeners
today still have certain expectations, so make sure
you understand the building blocks. Remember
that in musical theatre the instrumental section and
chorus may be longer to allow for dance routines.
The Title
Some song writers begin with the title or a phrase that
sticks in their mind and demands to be written about.
Start keeping a notebook: all good writers, whether
they are lyricists, poets, novelists or playwrights, keep
a notebook and pen with them at all times. In the
back of your book write down any interesting phrases
you hear or see, look in the newspapers and listen
to people on the bus. Look through your list and
see if there is one that stands out. Ask yourself some
questions about your title - the answers will be the
lines of your verses.
Here’s an example: “You’re the one that I want”
– Why? “Cause I need a man”
How do you feel about that? – “I got chills they’re
multiplyin”
If your song is a duet like this one, then you need
to think about the conversation the two people are
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Pitfalls
If you are not a musician and would like someone
else to set your lyrics to music, be careful that you
don’t get hung too up on writing verse with a
perfect rhythm and rhyme structure. It is often more
satisfying for the listener if you can come up with
some unexpected rhymes, like the example below
which uses irony in the lyrics as well.
BABY, DON’T SWEAT IT
YOU’RE NOT CUT OUT TO HOLD A JOB
BETTER FORGET IT
WHO WANTS HER HAIR DONE BY A SLOB?
NOW YOUR BANGS ARE CURLED,
YOUR LASHES TWIRLED,
BUT STILL THE WORLD IS CRUEL
WIPE OFF THAT ANGEL FACE
AND GO BACK TO HIGH SCHOOL
Try writing the lyrics to fit an existing tune so that
your structure and rhythm will sound right! Then take
the tune away and give the words to your friendly
musician to compose a tune to fit. Don’t, under any
circumstances, tell him or her what your starting
tune was, as that will have too much influence. Stand
back and see what she or he comes up with and you
should be amazed by the end result. On the next
page is a worksheet to start you off, featuring the
song Those Magic Changes from the show.
The Tempo
Pop songs are usually written in 4/4 time; one, two,
three, four. As a lyricist you need to be aware of
that, but don’t get hung up about it. Set the tempo
according to the mood of the song - fast if it’s
energetic or angry, mid tempo for a good solid pop
song or slow for a sad song or a ballad.
Definitions
Verse: The verses all have the same melody but
different lyrics. The verse lyrics give us information
about the situation, emotions or people in the song.
Chorus: The chorus is the section in which both
melody and lyrics are repeated. In the chorus you
will usually find the “hook” of the song - this is the
melody which will buzz around in people’s heads for
days after they have heard it. The title may well be
the words that go with the hook. The title of the song
almost always appears in the chorus section and may
be repeated two or more times.
Bridge: Also known as the middle eight. The bridge
has a different melody, lyrics and chord progression
from the verse or chorus. It provides a break from the
repetition of verse and chorus and is sometimes an
emotional turning point.
Inspiration To Get You Started:
5 Top Love Songs Through The Ages
All these songs have different structures. See if you can work out what they are.
Love Me Tender
Let’s Get it On
Teenage Kicks
I Will Always Love You
Breathe
Can you name the year and artist of these songs? What are your top five love songs?
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Follow Up Activities
Music Worksheet:
Those Magic Changes
Curriculum Links: GCSE music
Doody is getting to grips with the ingredients of a
good love song as he struggles to work out what
chords to play at the opening of “Those Magic
Changes” – listen to it on the original cast recording
and look at this extract, which shows the opening
verse before the “magic change”.
1. Write your own lyric to this short section
of melody.
2. In pairs, compose a new section of music
to fit your lyrics.
3. Advanced composers can try to work out
what comes next. Can you continue the melody line? When you’ve had a stab at it,
listen again to the cast recording and see if
you had a similar idea or did you create
something entirely new?
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Follow Up Activities
Writing A Review Of Grease
Curriculum Links: GCSE/GNVQ level
Drama/Performing Arts
To write a review, watch the show carefully and write
notes during the interval or after the play – we ask
that you do not write notes during the performance.
What do you see and hear on the stage and in the
audience when you are waiting for the play to begin?
To work out what effects are being created in the
production, ask yourself these practical questions and
think about why these choices have been made:
The
•
•
•
•
Set
what is your first impression of what you see?
what shapes, levels and colours are being used?
how does the set hide or reveal the actors?
how are the different locations and scenes in
the show demonstrated?
Costume
• what colours and styles are being used, and
what do they tell us about the historical period
of the show?
• compare different costumes, for example Sandy’s look at the beginning and her transformation for “You’re The One That I Want” or the difference between Kenickie and
Eugene’s costumes.
• How does costume help define a character?
The
•
•
•
•
•
•
Performers
how does each actor create their character through the way they move?
how effective is the transition from speech to
song – can you give an example of a point in
the show where this happens?
how do the performers use the set?
how do the performers relate to the audience –
and when does this change?
which performances do you find the most convincing? Why? Which performances do you
find less convincing? Why?
how do the dances affect the mood of the show?
And lastly how does Grease make you feel?
“Grease doesn’t have a message…it gives a flavour
of being a teenager in the 1950s – when Rock n’
Roll and putting grease in your hair were the most
important things in life..” David Gilmore, Director
Do you agree or disagree? What are the differences
and similarities for teenagers today? If you wrote a
musical about your lives, what would it celebrate?
Write notes here
Lighting
• what colours and shades are being used to create time of day or location or mood?
• what levels of brightness are being used?
• think about angles of light - who is well lit and
who is in shadow?
• when do the lights change?
• what atmosphere and emotions are suggested
by the lighting?
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Follow Up Activities
Further Ideas for
Citizenship and Drama
Bridge the Gap
(Citizenship – extended project)
Interview people you know - grandparents, family
friends or local residents who were teenagers in
the 1950s. What do they remember of the hair and
fashions of the time? Find out where, in your local
area, did dances takes place.
Re-create a 1950s dance in your school and ask local
residents to help you choose the music. Invite them
to the “hop” and alternate the playlist between
1950s and modern dance music. See what you can
learn from each others’ dance styles.
Follow The Story
(Drama – three sessions)
What do you think happens next to the characters
of Grease?
1.
In small groups choose four or five characters
and create a scene which shows them ten years
on. Plan and rehearse.
2.
3.
4.
Polish and perform your scenes to the group.
Follow the performance with a spontaneous
improvisation where everyone meets up for a
ten year reunion, dancing to the hits of their
teens and talking about their lives. Depending
on the size and ability of the group, this could
be managed as a whole class improvisation.
Extension activity to explore how to create
characters of different ages: a whole class improvisation as in (3) but at a signal from the
teacher everyone travels forward in time ten
years. Let each period play for a minute or so,
then flash forward again until you reach the
present day (average age of characters is
now sixty six).
Grease Day
Why not have a “Grease Day” as a charity fundraiser?
Everyone pays a pound to come as their favourite
character from the show. The teachers can join in
too! Decorate the school hall to resemble Rydell
High and even the tannoy announcements could
be authentic. Raise additional funds from sponsored
Rock n’ Roll dances and tallest beehive and best kept
quiff competitions. The possibilities are endless and
there’s a lot of fun to be had for your school’s chosen
good cause.
The End
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© 2011 PN & DI Associates. All rights reserved.
Bibliography/Further
Resources and Information
DVDs
Websites
Grease [1978] Starring John Travolta & Olivia
Newton-John (DVD - 2002)
www.thesoundofmusictour.com • everything you
need to know about the current production of
Grease.
www.facebook.com/greasethemusical • official
page on social networking website.
www.davidianproductions.com • official website
of David Ian’s company, with links to current
shows, company history and news.
Education Pack Credits
Created by Helen Cadbury
Additional Research by Michael Havard-Bilton,
Su Newell & Paramount Films.
With thanks to Jacob Todd, Julia McInally,
Sarah Seddon and the cast and company of
Grease over the years.
Grease Production Photography by Paul Coltas
Designed by Hazeldine-Coltas
www.imdb.com/title/tt0077631/ • film listing page
on the IMDb website.
http://en.wikipedia.org/wiki/Grease_(musical) •
information about Grease on Wikipedia.
This education pack has been designed so that
individual pages may be printed off by teachers/
group leaders for individual use within the class
room. Any further distribution or reproduction of the
text and images contained within it is prohibited.
Books
All photographs are of the 2011 UK Tour
Grease by Jim Jacobs and Warren Casey (Samuel
French Paperback - Jan 1997).
The Grease Education Pack © PNDI/DIP 1993-2011
Grease Is Still the Word by Neil, Sr. David (Paperback
- Apr 1999).
www.greasethemusical.co.uk
Grease
20th
Anniversary
Edition
by
W. Casey and J. Jacobs (Easy Piano Paperback 10 Nov 2007).
For more information contact:
The Marketing Department
David Ian Productions Ltd
3rd Floor, 33 Henrietta Street, London WC2E 8NA
+44(0) 20 7257 6380
Grease - School Version by Jim Jacobs and Warren
Casey (Samuel French Acting Edition Paperback 30 Sep 2009.
CDs
Grease - Original 1978 Motion Picture Soundtrack
(Audio CD - 1991)
Grease - Original London Cast Recording (Audio
CD - 1994)
Grease - The New Broadway Cast Recording (Audio
CD - 2007)
Stock and amateur rights for GREASE are represented
in the United Kingdom, Eire and throughout Europe
by Theatrical Rights Worldwide.
www.theatricalrights.com
and in the US & Canada by Samuel French Inc.
www.samuelfrench.com
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www.greasethemusical.co.uk
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