According to backstage.com, 2019’s Frankie and Johnny is the first Broadway play to have an intimacy director. Marriott’s production of Grease is the first Chicago play I’ve been to where I noticed a similar attribution, in this case Intimacy Captain, in the playbill. There aren’t any sex scenes in Grease, but there is physical touching.

According to Intimacy Directors International (IDI), founded in 2016, “intimacy directors with IDI are highly skilled collaborators trained in movement pedagogy, acting theory, directing, body language, consent, sexual harassment, Title IX, mental health first aid, and best practices for intimacy direction “ They take “responsibility for the emotional safety of the actors and anyone else in the rehearsal hall while they are present.”

So, while this production is 2020 in regard to backstage sensibilities, it’s still a very senior class of 1959 script, although I think a little of the language from the original has been cleaned up.

The nostalgia regarding a time and place is what drives Grease, along with a raft of great songs, performed beautifully by all in this production, because the plot, whether it be in the original or revised play, or the movie, never wavers from weak, with inexplicable turns.

But when they drive the Greased Lightnin’ car down the theater aisle and onto the stage, twice, one time also lifting center stage and the car up with hydraulics just as if it were in an actual garage for repairs, it’s hard to care whether character transformations are credible.

As for the characterizations, it’s also hard not to start with the understanding that the actors are past high school age, but given the fact that Olivia Newton-John was 30 when the movie was released, they seem young enough, especially given their body language and emotional immersion into their roles. In particular, for me, Michelle Lauto, who always shines, stands out as Marty, with a fierceness and attention to detail.