Now making its Off-Broadway debut at St. Luke’s Theatre after playing more than 200 performances throughout North America, Bear Grease is also making history, as the second-ever NYC production that’s by, about, and stars a sensational roster of all-Indigenous people (following last year’s Distant Thunder at A.R.T./New York). Written and created by LightningCloud – the award-winning LA-based multi-hyphenate duo of performers-composers-writers-producers (Crystle Lightning, who also directs, and Henry Cloud Andrade, who delivers a jaw-dropping freestyle rap in the show, improvised from questions he asked random members of the audience before curtain time) – the rollicking musical parody offers a new twist on the popular 1970s musical and movie Grease, under the premise that colonization of the US never took place. The result is a “Reservation sensation” with a “Rez-ed Up” remix of mid-century (when the original Grease was set) to hip-hop, rap, and breakdancing that emerged two decades later, all through a Native lens.
The laugh-out-loud musical combines meta-theatrical segments of direct-address to the audience, video projections on a full-scale upstage screen (video production by Dustin “Birdie” Vince of Redroom Studios, filmed by Conor McDavid of KOH, with film/sound by Gerry Clarke and background art by Diego Loza) of everything from ‘50s-type commercials (the one for Eskimo Pie ice cream bars is especially hilarious and observant), colorful animations, scripted behind-the-scenes preparations and backstage interactions of the company, to teepees on their Reservation and comical rolling credits as the cast members take their final bows, with masterful segments of live song and dance that capture the evolution of the eras and also spotlight Indigenous language, music, and moves.
Following the basic story and characters of Grease, Bear Grease makes some fitting changes. The school dance is now a pow wow, Kenickie is now named Canuckie (a reference to the Canadian Treaty 6 territory in Alberta, where the show and its director were born), Rizzo is Rezzo (living on the “Rez”), the groups of Greasers and Pink Ladies are now Thunderbirds (powerful bird-like spirits in Native-American tradition) and Pink Aunties (perhaps inspired by the Gershin Impact game, where time and space are meaningless, and destinies collide and intertwine), and the pre-show music features songs by Black artists that were popularized by Elvis Presley, who was of part-Cherokee descent. The bold and rousing production also reintroduces some foul language and raunchy content as in the original 1971 Chicago premiere, which was later toned down to appeal to an audience of all ages for the film and subsequent theatrical versions.
A powerhouse cast of ten – Bryce Morin as Danny, Melody McArthur as Sandy, Tammy Rae Lamouche as Rezzo, Allyssa Trujillo as Foxy, Rodney McLeod as Canuckie, Nipîy Iskwew as Jan, Justin Giehm as Sonny Boy, Raven Bright as Roger, Haley Robinson as Marty, and Mikey Harris as Butta (in place of Doody) – with additional appearances by Lightning and Cloud, delivers it all with high energy and panache. The fifteen musical numbers begin with two girl-group hits of the early ‘60s, The Ronettes’ “Be My Baby” and The Shirelles’ “Will You Still Love Me Tomorrow,” with stellar lead vocals by Lamouche and McArthur respectively, and consummate back-up harmonies by Trujillo, Robinson, and Iskwew, after which the guys take to the stage, performing The Platters’ late ‘50s doo-wop chart-toppers “Twilight Time” and “Only You,” consummately led by Morin and perfectly backed by Giehm, McLeod, Bright, and Harris. Each is performed with spot-on period stylings and authentic costumes (by Iskwew), with the women in green velvet dresses and dazzling rhinestone necklaces and the men in silver-sequined tuxedo jackets and bow ties, effectively setting the look and tone of the time, before switching into their retro A-line flare dresses and bobby sox, leather jackets and jeans.
The main plot, following the romance of the cool Danny, leader of the Greasers, and the innocent Sandy, teased by Rezzo as an outcast but ultimately transformed from her Native ribbon skirt and baggy nightgown to a skin-tight black outfit to fit in with the group and to become Danny’s fantasy girlfriend, is still at the center, with many of the famous songs given new lyrics (a glossary of Indigenous terms is included in the program), language, and beats. They include Danny and Sandy’s “Summer Nights,” here tweaked to the more scandalous “Summer Snaggin’,” Rezzo’s Cree Nêhiyawêwin rendition of “Wichihin” to the tune of “Stand by Me,” Danny’s “Hopeless Roundie,” a Round Dance hand-drum version of “Hopelessly Devoted to You,” and Danny and the Thunderbirds’ performance of “Bear Grease Lightning,” a pow-wow dance reworking of “Greased Lightnin’.”
There are also fabulous bits of breakdancing by Roger and Sonny Boy, along with the aforementioned rap improv by Cloud, all designed to represent, to fuse, and to celebrate the distinctive traditions and cultures with which the company grew up, brought together on the stage with fun, respect, and awe-inspiring skill. The riveting sequences are enhanced with shifts, flashes, spots, and different colors of lighting (by Jeremy Ill Wero Echols), along with the active projections.
In addition to being an important theatrical landmark in providing a voice, visibility, and opportunity to the under-represented Indigenous population, Bear Grease is a ridiculously entertaining and clever showcase for a cast and team of talented triple threats who will keep you clapping and laughing, while making you appreciate and take pride in Native culture, humor, and vision more than ever!
Running Time: Approximately two hours, including an intermission.
Bear Grease plays through Sunday, September 7, 2025, at St. Luke’s Theatre, 308 W. 46th Street, NYC. For tickets (priced at $59.99-119.99, including fees), go online.
