Grease Live! Official Thread — Page 38

The Sandra Dee reference also goes a bit deeper than that and provides a little foreshadowing,be jock is part of what makes the song so clever. Sandra Dee's public person may have been sunshine and wholesomeness, but her life was not exactly that, foreshadowing that Sandy Dumbrowski has some bite and grit under her layers of goodness. In the original stage version, this is first really expressed when Samdy and Rizzo get into a scrap immediately after the song, but rally points toward the transformation at the end of the show, which is not Sandy selling herself out as the movie and later watered down stagings give us, but rather Sandy and Danny realizing that they both fall somewhere in the middle and they meet there, rather that trying to put on the guise of the good girl and the bad boy - being a good girl doesn't mean that Sandy can't be hot and have a little fun, and being a troublemaker doesn't mean that Danny doesn't have a good heart.

(it's also why changing Sandy's surname to Olsen or Young is an insult to the show and the song. She needs to have a surname beginning with "D" and Dumbrowski is meant to reflect her Polish heritage, defining her as a blue collar girl of not a lot of means when Polish people were often the brunt of jokes (All in the Family, anyone?), and somewhat explaining Sandy's strong desire to be the good girl and overcome...)

It IS a hazy valentine, but for it to work, you have to ground the characters even while going broad, and a lot is in the hands of the actor and director.

i have never taken it as Sandy going full bad girl. Look at the film, not my favorite example but still valid, Sandy has no idea what to do with a cigarette. She is embracing the naughty, but that doesn't mean that she has gone full uber bad girl. I don't think Danny "changes" drastically, perhaps not was faulty word choice, but I think he certainly becomes more comfortable in the balance between who is with Samdy versus his Rydell friends.

I think the worst thing you can do to Greas or any similar such show, is to write them off as two dimensional fluff. It is what leads to shallow, terrible productions. As an actor, director, etc, you have to approach it and find the fully fleshed elements. That is how you give it heart, that is how you hook the audience. Grease now works from a disadvantage because we have been trained to view it as slight... And I do not mean to hint that it is high drama whatsoever.

Has anyone figured out the Grease Lightning car change out yet?

Camera pans away to Kenickie singing his verse so car switch is happening at that point. Kenickie finishes verse then camera pans to 3 dancers doing their thing, thus giving more time for car switch and now letting Kenickie and others do their quick change. Camera then pans from the 3 dancers to the red car and cast in blue jumpsuits. Same idea for when the car (and guys) go back to their regular forms: camera stays on dancers so switch is happening off-camera.

Did anybody get the DVD? I was thinking about getting it but only if the extra features were nice enough...

Oh, I read somewhere people saying they already bought the DVD, so I thought it was already out... I guess they meant they pre-ordered it or something then

I was reading a book on the making of the movie GREASE last night and in it Allan Carr expressed why there were changes made for the film version.

His reasons:

"I based my changes on my high school in the Chicago suburbs where the kids were not all greasers, like the stage musical. They were tough but good kids, and by moving the setting to the suburbs, I made it closer to my high school memories and much more important, more resonant to a wider audience. To that end, I also cleaned up some of the raunchy language.

I wanted to make it your fantasy high school. Whatever your feelings were about going to school - and most people were not happy in high school - I wanted to make everyone feel this is the school they wish they had gone to."

I don't necessarily agree with this. I am just sharing this information for those who did not know or may have wondered why his adaptation deviated from the source material.

Thanks for the quote, Theatre_Nerd. That really explains a lot about the film. I don't agree with Carr that "suburban" is more universal than urban working class, but I suppose he has a point that by the time the film was made, white kids were more likely to live in the 'burbs.

www.target.com/p/grease-live-on-fox-target-exclusive/-/A-50721396#prodSlot=medium_1_2&term=grease+live

Picked this up yesterday! :)

They're fine. One is a karaoke track and 2 are by DNCE (they are on the same label - Republic - that the soundtrack was released so this is exposure, I'm sure) from the National Bandstand scene. The other is Sandra Dee Reprise (it includes the dialogue with Rizzo). I wish there had been a recording of everything in the show like Alma Mater with Ana Gasteyer and the chorus (including the announcements dialogue would've been great), Mooning (which DNCE covered for 30 seconds that led into Hopelessly Devoted), and the dance arrangement from the Cheerleading Tryouts.

The booklet is like the ones from compilation albums; no lyrics, just credentials for everyone who performed on each track (including the band, yay!) and copyright stuff. No photos except for the cover and the Grease Live logo. The back of the booklet is a leather texture like the T-Bird jacket. I mostly bought it for the bonus tracks and just to say I have a hard copy of the album. This edition won't be around for a while so it's neat to have. Like the B&N Gypsy 2008 recording. lol.

Costumes and props from Grease Live are on the auction block. Many are quite affordable

http://propstore.auctionserver.net/view-auctions/catalog/id/42/