Electrifying - Grease

ELECTRIFYING 

GO GO GO! 

Sky News 

BRAND NEW EDUCATION RESOURCE PACK 2007 

Created by Helen Cadbury 

For Paul Nicholas & David Ian Associates Ltd. 

® 

THE 

PARTY IS 

BACK! 

Heart FM

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 

An Actor’s Life – Siobhan Dillon and Richard Hardwick 16 

A Stage Manager’s Life – Sharon Hobden 17 

Wigs and Hair 18 

Marketing Worksheet: Design a Poster 19 

Technical Cues Worksheet 20 

Set Design Activity 21 

Follow Up Activities 22 

Write Your Own Teenage Love Song 22 

Music Worksheet: Those Magic Changes 24 

Write a review of Grease 25 

Further Ideas for Citizenship and Drama 26 

www.greasethemusical.co.uk 

© 2000 PN & DI Associates. All rights reserved. 

1

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. 

Follow Up Activities include Writing a Review and 

classroom sessions for Drama and Citizenship. 

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! 

This pack was created by Helen Cadbury 

With thanks to: 

Paramount Films 

Su Newell 

Michael Havard-Bilton & Madeleine Kaye 

Jacob Todd, Julia McInally & Sarah Seddon 

The cast and company of Grease over the years 

2

The Show 

The Players 

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. 

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. 



Vince Fontaine: local radio star and band leader, 

Vince wows the girls at the school dance. 

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. 

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. 

3

The Show 

Song by Song Synopsis - 

ACT ONE 

GPrologue: 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. 

GSummer 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. 

GThose Magic Changes 

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. 

GLook 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. 



GGreased 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? 

GRydell Fight Song 

The friends all meet up on the football field and 

romance blossoms between Roger and Jan. 

G Mooning 

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. 

GWe Go Together 

4

The Show 

Song By Song Synopsis - 

ACT TWO 

Local DJ Vince Fontayne is hosting the High School 

Hop where everyone is strutting their stuff. 

GShakin’ 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. 

GIt’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. 

GBorn To Hand Jive 

Meanwhile, Sandy is all alone and facing up to the 

fact that she still loves Danny. 



GHopelessly Devoted To You 

Things aren’t working out too well for Frenchie either, 

so she calls on her Teen Angel for some advice. 

GBeauty 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. 

GSandy 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. 

GThere Are Worse Things I Could Do 

Sandy knows she has to make some changes. 

GLook At Me I’m Sandra Dee – reprise 

Everyone gets the shock of their lives at Sandy’s 

transformation. 

GYou’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. 

GFINALE Grease Fact: 

In 1978 You’re The One 

That I Want spent 

9 weeks at the top of 

the charts, followed 

by 7 weeks for 

Summer Nights. 

5

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. 

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. 



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 Fact: 

The first scene to be 

written was the girls’ 

pyjama party scene 

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) 

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 



I play it cool 

And dig all jive 

That's the reason 

I stay alive. 

By Poet Langston Hughes 

7

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 

a Curriculum Links: Music, Music 

Technology, Media Studies Level: KS3/4/5 

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

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. 

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. 



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. 

9

Style File 

1950s American Fashion 

Curriculum Links: Art, Design Technology - 

Textiles, BTEC Performing Arts/Technical 

Theatre/Costume. Level: KS3, KS4, BTEC 

a 

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. 

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. 



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. 

10

Style File 

Picture Resources 



11

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 could be 

one cool piece 

of machinery. 

Why this car 

could be: 

Automatic 

Systematic 

Hydromatic 

Why it’s Greased Lightnin’! 

12

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

Backstage Pass 

Who’s Who: The Big Hitters 

Who? The Job The Brief Biog 

Jim Jacobs and 

Warren Casey 

David Gilmore 

Arlene Phillips 

Terry Parsons 

Andreane Neofitou 

Writers 

Director 

Choreographer 

Designer 

Costume Designer 

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 coauthor 

several plays and musicals. Sadly Warren died in 

1988. 

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 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 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. 

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


In Conversation With 

Director David Gilmore and 

Choreographer Arlene Phillips 

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 21st 

Century show? 

ARLENE: We’ve done a lot of research into the 1950s. 

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 



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. 

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 a 21st Century 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. 

15


A Day In The Life Of An 

Actress – Siobhan Dillon 

On this bright mid-November morning, after a lovely 

relaxing Sunday off, I start my busy week ahead with 

a cup of jasmine tea and a huge bowl of cinnamon 

porridge (very Rock n’ Roll!). I jump onto a very overcrowded 

London tube and arrive at my singing 

lesson. We work on Sandy’s songs from Grease (as I 

am her understudy) and also work on songs to 

improve my vocal versatility and range, which I 

believe is very important for me as I haven’t really 

given enough time to mastering the art of singing! 

Next location – acting workshop – fun! I leave my 

acting improvisation class filled with enthusiasm, 

strength and courage – as well as with a spiritually 

clearer focus. Hungry again I stop by a salad bar for 

my favourite duck and cucumber salad wrap and fruit 

smoothie – lovely! Now, off to the theatre… 

‘All cast members to the stage please to commence 

your physical and vocal warm-up’ is the message for 

us all blasted out of every speaker throughout the 

theatre – everyone scurries about, pulling leg 

warmers and dance trainers on. I grab my bottle of 

water and head towards the stage. 

Down the stairwell the atmosphere is alive and 

electric with echoes of giggling and gossiping friends 

sharing stories of their weekend activities and antics! 

We bounce down more flights of stairs than any of us 

care to think about - which are certainly easier going 

down than climbing back up at the end of the 

evening! 

After the curtain has gone down at the end of the 

show, having left the stage high on adrenalin, legs 

wobbling underneath me like stacks of jelly, I can’t 

help but think how much hard work it all is, but when 

you take your bow in front of a huge audience full of 

smiling faces and when you can feel the enjoyment 

overflowing onto the stage where you and your team 

are standing, that’s when it all becomes much, much 

more than just a job! 



A Day In The Life Of An Actor 

– Richard Hardwick 

Actors are notorious for getting up late and I’m no 

exception to the rule. I’m not a morning person at 

all. This stems from our working hours and finishing 

late at night. 

I normally rise about 10am and straight away have a 

pint of water. Hydration is essential, especially if you 

are singing as well. Then I’ll have some bran for 

breakfast and another pint of water. At the moment 

I only use a tiny amount of milk as the less dairy the 

better. Dairy products produce a singer’s worst 

nightmare – phlegm. So cut down on the dairy. 

Then I’ll watch some TV, usually The News and turn 

on the computer. I use as much of my free time as 

possible to pursue other interests. I write, run a 

Theatre & TV production company and teach in 

hospitals. As an actor the more creative interests you 

have the better. Then it’s off to the gym (four times 

a week) and into the theatre. 

Again, I’ll have a pint of water as soon as I get into my 

dressing room, then head down for a 15 minute 

vocal and 15 minute physical warm-up. We usually 

have a little break at this point to catch-up with each 

other and visit friends in other dressing rooms, but 

once we get the half hour call I get ready. Shower, 

hair, make-up, costume, water and down to the stage 

before beginners call. 

Once the show’s over I go to the pub, maybe out 

with friends or straight home. I’m usually home by 

11.30pm and go to bed by 2am. I’m a night owl, but 

lots of actors get home and then let their body 

unwind for an hour or so. Pint of water by the bed 

and maybe a few pages of a book, then lights out. 

16


A Day In The Life Of A Stage 

Manager – Sharon Hobden 

Today we have an understudy rehearsal. The 

company are rehearsing at 2:30pm so the Stage 

Management team are in at 2pm. Our job is to make 

sure that the stage is ready for the company and 

creative department when they arrive. We make sure 

that the Iron (safety curtain) is out, lights are on, the 

stage is swept and the rehearsal keyboard is set. We 

then set any props and furniture that may be 

required. Once the cast arrive we make sure that we 

have everyone required for the rehearsal. The 

Resident Director or Dance Captain will take the 

rehearsal. 

It is our responsibility to make sure that the show 

looks the same as it did on Opening Night. We 

therefore have to maintain the props and with the 

Master Carpenter and his team, the set. 

At 4:30pm the Lighting Department turn on the 

lighting rig and check that all the lights are working 

and are pointing in the right place. If any are not 

working, they will repair or replace them. 

At 5pm the Stage Management team begin their preset 

for the evening show. We have two automated 

pieces of scenery, the large CS (centre stage) truck 

which in Act I has The Bleachers on it and Act II The 

Burger Bar, and The Band Truck. We start by running 

each of these pieces to US (up stage) and DS (down 

stage) to make sure that they are working correctly. 

The two ASM’s (Assistant Stage Managers) set out all 

the props that are needed for the show. The DSM 

(Deputy Stage Manager) types up the covering 

arrangements for the evening performance. This will 

include information on who is on holiday, sick or 

injured and who will be covering them. The DSM 

then distributes this information to the other 

backstage departments. 

At 5:15pm The Stage Crew arrives to begin their preset. 

It is their job to rearrange all of the set and 

furniture pieces to their starting positions for the 

show. On our show they have to take the burger bar 



off the central truck and replace it with the bleachers 

seating, they then arrange the SL (stage left) and SR 

(stage right) wings. Finally the stage is swept and 

mopped and the keyboard set for the vocal warm-up. 

At 6:15pm The Company arrive for their physical and 

vocal warm-ups. It is the job of the DSM to make 

sure everyone is present. The warm-ups usually finish 

around 6:40pm. There is then time to rehearse any 

changes for the evening’s show. Meanwhile the 

ASM’s are doing a shout check of the wings and 

stage. This involves one of them reading a list of 

items required and the other checking that they are 

there. 

At 6:55pm (The Half Hour Call) I open the house. 

This means I call in the flying pieces needed to 

complete the pre-set, ask Lighting to put up the 

lights and Sound to play the pre-show music. When 

I am happy that all is ready I let the Front Of House 

Manager know that it is clear to “Open the House” 

and let the audience in. 

At 7:10pm The DSM calls the Quarter Hour Call. This 

lets everyone involved with the show know that they 

have 15 mins before they need to be ready. He will 

also announce any covering arrangements. 

At 7:20pm The DSM calls the 5 Minute Call. As 

before everyone now knows that they have 5 minutes 

until they have to be ready. 

At 7:25pm The DSM calls Beginners. This Call lets 

everybody who has to do something at the start of 

the show know that they must come to the stage or 

their starting positions. 

At 7:30pm or when the Front Of House Manager tell 

us that the audience are seated, we begin the show. 

This is always a great moment, as the band begin and 

we are off. During the show there is one ASM in the 

SR wing and one in the SL wing and they make sure 

that everything runs smoothly, that the cast are ready 

for entrances, that the crew are ready for scene 

changes and deal with any problems that arise. As 

SM I move from wing to wing making sure all is well. 

I am responsible for everything that happens 

onstage. I watch all the scene changes to make sure 

that nothing goes wrong. All the SM team, the 

17

flyman, Sound op, LX op and Followspot op’s are on 

“cans” (headset communication with each other) so 

that if anything does go wrong we can decide what 

to do quickly. The DSM “calls” the show. He has a 

copy of the script which he has marked up with all 

the lighting, sound and stage cues. He then tells each 

operator when to do their cues. 

The Interval is a very busy time for us. We have a lot 

of scenery to move around in order to prepare Act II 

and only 20 minutes to do it in. The first time we 

attempted this change in the Technical Rehearsal it 

took 1 hour 40 minutes, now it takes us 15 minutes. 

It involves a lot of team work. 

9:45pm The show finishes. We tidy a few things up 

and I write the Show Report. This includes running 

and playing times for the performance as well as 

information on who operated and understudies that 

were performing. I then note anything that 

happened that was different from what the Director 

wanted. This is then e-mailed. Our day is over. We 

will be back tomorrow to do it all again. 


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! 

18


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. 

19


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 Deputy Stage Manager 

LX Lighting 

Q Cue 

SPOTS Followspot 

PYRO Big indoor fireworks 

FLY Item of scenery suspended above the stage 

MD Musical Director 

Downbeat When the MD moves his conducting baton vertically down to show the first beat in a bar 

Upbeat When the MD moves his conducting baton vertically up to show the beat before the first 

beat in a bar 

SL Stage Left 

Cut off When the MD signals in one gesture for the musicians to stop playing at the same time 

DBO Dead Black Out 

DS Down Stage 

20


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 



21

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? 

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 



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. 

22

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? 

23


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? 

24


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? 

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? 



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 

25


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. Polish and perform your scenes to the group. 

3. 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. 

4. 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 

26

Electrifying - Grease

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?