Ancient Grease | The Vaults

Ancient Grease, written by Lady Aria Grey and directed by Dan Wye, is a hilarious parody musical of Grease, set in Ancient Greece featuring the Gods, Goddesses and Fates when they were in high school. The show leans into the chaos of this crossover at every turn, whilst also injecting its own keen sense of queer joy, self-acceptance, camp choices and, of course, a very healthy dosage of sexual innuendos. 

The musical follows a similar plot to Grease but puts its own twist on the story with the inclusion of the Fates as the puppeteers, and includes the well-known relationships and feuds from Greek Mythology. Hera, a virtuous and naive young girl, meets her fated match made in heaven Zeus, and together they share a romantic moment before the start of high school. However Zeus' inability to remember her name and his playboy tendencies cause friction between them. Zeus, along with his friends Ares and Hephaestus, are determined to dominate their senior year as the "Alphas", whereas Hera is adopted by Aphrodite and Athena into the "Omegas". They must then embark on the greatest adventure yet, navigating high school. 

Whilst a prior knowledge of Grease technically isn't necessary to enjoy this musical, it's definitely advised as the plot and songs are direct parodies and there are countless smaller references throughout the musical. Likewise, a general knowledge of Greek Mythology would help audiences appreciate the references and understand the character personalities and relationships better, but the show does a fantastic job at ensuring it is easy to follow.

Ancient Grease sidesteps the restraints of a direct parody with the introduction of the Fates. Reminding audiences of another popular musical, Hadestown, the three Fates become an all encompassing entity of sisterhood who wreak havoc and drama on the Demigods by literally writing their futures in their book of Fate. This allows Ancient Grease to thrive as its own show and really pulls audience in for a thrilling battle for control. Grey's writing is primarily a delightfully camp one, and oozes with sensuality and hammering up on defining characteristics, yet evolves into something much more profound as several characters grapple with their own sexuality and the need to break free and own their story. 

Wye's direction guides the cast to find the sweet spot between an over the top attitude that still delivers a huge amount of heart. The show has a slow start as it tries to find its footing, yet once the high school scenes begin, it ramps up to deliver an exhilarating theatre experience that will have the audience laughing out loud and gasping with delight with jaw-dropping antics.

Packed into The Vaults, the show has truly made the most of the underground tunnel by including a ramp for a chariot race, complete with pedal and electric bikes, along with the gorgeous Greek columns. Isabella Van Braeckal has pulled out all stops with a secret set piece that works well as an act one closer. Despite working in the unusual and almost weathered space, Braeckal's design transforms the space into a more elegant space. Clancy Flynn's lighting design aids enormously here, with a light show that brings energy into the audience, especially with the hidden lightning bolts whenever Zeus channels them. 

Gabriel Swarbrick's sound design struggles, at moments, to ensure that the live mics are louder than the music due to the hollowed theatre space, but this works in the show's favour for the music and sound effects as they reverberate off of the walls. Notably in this performance, one of the actor's mics stopped working and the entire company made the transition to a handheld mic seamlessly, before a quick fix during the interval by Swarbrick (who is also the stage manager). Caitlin Mawhinney's costumes pay homage to both Grease and Greece, with crop tops and tight skirts accompanied with capes, armour and long golden gowns. Hera's transformations from her virginal self to her "improved" confident outfit is admittedly iconic.

Corin Buckeridge's compositions bounce off of the Grease soundtrack well, with cheeky comments about the legal loopholes of similar yet not same chords being used. The music feels fresh and catchy and they feel successful, even without the hilarious new lyrics by Grey. The soundtrack is "inspired" by Grease but fans of the musical will be able to immediately pinpoint the corresponding songs, especially with the titles being a play on words. Lucinda Lawrence's choreography go hand in hand jive with the songs, delighting audiences with full fledged choreography even in the small space. Lawrence's choreography adds fuel to the fire of Buckeridge's compositions. Two particularly impressive moments are a dance off between Zeus, Hera, Hades and Persephone (which is as bonkers as it sounds), and the or-jive that audiences are taught and encouraged to dance along with the actors from their seats. 

Grace Kelly Miller, Christopher Patten-Walker and Lara Beth Sas form the sisterhood of The Fates. The trio move as one with a firm foundation of friendship between them as they pull the threads of each of the characters, cackling in the chaos that they cause. The three performers tap into the insanity of the devious nature of the Fates and inject a fun level of sensuality and charm into the roles. Patten-Walker often disappears with a running gag to perform in their other role, leaving Sas and Miller to dominate as the ever-present Fates. Miller delivers a bold stage presence with killer vocals, and Sas takes on a more subtle yet just as delightful presence as they slip into the shadows, watching the Demigods, bringing their own incredible vocals to the stage. 

Patten-Walker demonstrates their versatility as they switch between their two roles of Lachesis the fate, and Ares the tough demigod of war. Patten-Walker as Ares brilliantly captures the struggle of an "alpha" teenager who is determined to be intimidating and tough, which is hilariously undermined by his love of "butt stuff" that he is too ashamed to admit. Safia Bartley as Athena is a wonderful addition to the otherwise emotionally driven characters, with a deliberately sensible character who is able to understand the high school dynamics. Bartley also doubles as Persephone in a very different flirty performance, giving her the best of both worlds, but it's Bartley's vocals that are her most impressive talent in an emotional solo. 

Peter Camilleri takes the crown as Zeus, portraying him as THE Himbo of all Himbos. Camilleri laps up the role, vying for audience's attention with a largely exaggerated swagger, complete with the constantly running a hand through his hair and dramatic winks. Camilleri's excitable nature is adorable, but it's his moments of comedy as he constantly tries to woo Hera that is most enjoyable to watch. Philippa Leadbetter as Hera makes the choice to dial up the campy nature of the script as much as possible, hammering up every small direction to a full-fledged moment of physical comedy. Leadbetter goes all out as she lays flat on the stage in a state of depression that would rival a Disney princess, or when she's on her knees as she is ready to seduce Zeus. Her transformation in the second act is similarly just as brilliant, as she dominates every scene she is in with uber confidence and a scathing fire that can not be ignored. Both Camilleri and Leadbetter have strong vocals are are well paired together. 

The standout performers are Ollie Thomas Smith and Lucy Penrose as Hepburn and Aphrodite. Penrose is perfectly cast as Aphrodite, embracing the character's refreshing sensuality and confidence whilst empowering the other female characters on stage and placing herself above all judgement. Penrose owns the stage, needing nothing but her own immense talent as a performer as she makes every quick audience interaction a memorable joke and brings an unshakeable confidence to the role. Penrose's ability to juggle comedy, sincerity and a emotion-led performance is admirable and she stuns at every turn. Additionally, her solo song raises the roof as she has the audience transfixed at her excellence. 

Thomas Smith as Hephaestus is immediate singled out as the heart of the piece as he constantly has to hide who he is in order to fit in with the other "Alphas". Smith is adorable as he gets excited by everything, his unwavering optimistic outlook and loyalty, which makes it just as heartbreaking as he has to hide his sexuality and repeat lines as a straight and tough man. Smith easily steals every scene that he is in as Hephaestus, and also doubles up as Hades and showcases a ruthlessness that is impressive to watch. 

The cast of eight each approach the show with a different performance style as they bring their own individual strengths to the foreground. One may assume this could cause a clash in the smooth flow of the show but in fact it enhances it, as the audience are able to witness the very best of each performer and it speaks to the message of the show. The cast handle the curveball thrown to them by reserved, cheeky and terrified audience members (for there is a large amount of audience interaction), and prove that they both understand the playfulness of the piece and delivering a very enjoyable evening for the audience. 

Ancient Grease may take a moment to wipe the dust away but it ultimately is a fun-filled, sexy and exciting piece of theatre that immerses you in a literal underground treasure. Grab your togas and pink jackets because this is the place to be to have a great time with a bonkers show. 

Anicent Grease is currently playing at The Vaults until 31st May 2026 - tickets and more information can be found here.

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Flavia Fraser-Cannon