Full disclosure. This particular reviewer grew up on the fifties, bubblegum, teenagers-so-old-they’re-practically-creaking charms of Randal Kreisler’s Grease. Casey and Jacobs’ music remains as indelible as ever, and its staples – not least of all that Olivia Newton-John transformation – are forever etched in cinema (and musical) history.

As such, Secret Cinema and Today Tix’ decision to recreate Rydell High smack bang in the centre of Battersea Park and create a hybridised screening-performance homunculus sounds pretty much like someone wandered into my dreamscape and made it manifest.

Tell me about it, stud.

So, personal bias acknowledged; though it’s probably fair to say most who will be visiting Grease: The Immersive Movie Musical will be fans of the source material.

Of course, it isn’t Secret Cinema’s first term at Rydell. Back in 2023, they offered up a similar experience at Birmingham’s NEC arena, which was well-received.

For London, however, they have gone decidedly full throttle, upping the ante and delivering an experience that is automatic… systematic… and, well, you know the rest.

Secret Cinema have built a reputation for high quality, solid production value immersion into the world of each respective IP. Grease presents something of a deviation from the formula, as the screening of the Travolta and Newton-John classic is intercut with live musical performances throughout. It slants the whole experience closer to outright musical theatre than many of their previous offerings, but that’s no bad thing when you’re dealing with material like the film’s ballroom sequence or fairground finale, both brilliant and opulently realised here.

There’s an argument to be made that it makes for a slightly choppier, more stop-start affair. And in a rather unexpected curveball, the live performances and staging are so good throughout that the screening downtimes sometimes feel almost like filler. The film itself is still eminently watchable, but it’s hard not to find yourself itching for the next set piece or big number.

As mentioned, the exterior of Evolution London has been repurposed into Rydell’s graduation fairground, complete with rides and immaculately themed standees. Down yourself a themed cocktail or the compulsory hot dogs, and you’re free to snap as many selfies and footage as you want out here. Fancy dress is heavily encouraged. The sense of atmosphere and buzz is infectious, and a lot of the supporting artists and even stalls holders throw themselves into the idea that you’ve time warped to 1959.

“As well as looking like a technicolor 1950s marvel, the attention to detail is similarly impressive.”

The bulk of the evening, however, takes place inside, where Tom Rogers and Howard Hudson have created a glorious bricolage of locations and vignettes from the film. From the ‘Frosty Palace’ ice creamery, the T-Birds’ garage, the Rydell stage and even a stunning, expansive ’Drive-In’ wall, it’s all a visual feast. As well as looking like a technicolor 1950s marvel, the attention to detail is similarly impressive. There’s oodles to take in; giggling at the flyers and pieces on the Rydell noticeboard as you walk in (vote Patty Simcox, FYI) through to Susan Kulkarni and Martina Trottman’s costumes serving up candy floss server, fifties’ diner cuteness or slick greaser even at the various themed eateries and stands.

So it looks great, and thankfully with such a heavy onus on live performance, is a slick joy to watch, too. Given the sheer expanse of the auditorium, director Matt Costain and choreographer Jennifer Weber have done a good job of moving the key set pieces and numbers around the place. There’s plenty of elevation, and in the case of Rizzo’s ‘Lucy Penrose’ parodic ‘Look at me, I’m Sandra Dee’, she literally takes to a mobile four poster bed which drives around the centre stage. There’s even some small but appreciated contemporising done, too – no lifting non-consensual lifting of Patty’s dress or same-sex bans with the ballroom boogying, to name a couple.

For sure, there can occasionally be some discombobulation as you hear an iconic number starting up and aren’t quite sure where in this sizeable space it’s coming from, but if you’re brushed up on the film, you’ll likely have an idea as where you need to gather. And for those completely on the wrong side, many of the numbers are projected to the same screens dotted throughout that the film plays on.

Costain is savvy enough to keep the whole thing moving and, more often than not, numbers migrate across to the large centre stage, or are set there entirely. This makes for truly awesome sequences such as the iconic ballroom dance-off which, complete with audience participation and some stunning choreography from Weber that ‘Danny’ Liam Morris and ‘Cha-Cha’ Leah Dane positively raise the roof with. Grab yourself a VIP ticket and you’ll even find yourself drafted in to help out on-stage for key numbers.

It all makes for a hugely entertaining evening that is almost impossible to not get swept up in. An electric atmosphere and a cast of excellent performers make good on the concept of a live, interactive trip to Rydell. One moment you can be learning some smooth moves from Waylon Jacobs’ compere, doing the hand jive with Reece Kerridge’s irrepressible Tom, or have Imogen Kingsley-Smith’s (*perfectly* cast) Patty Simcox waving her love letter to Danny Zuko in your face. Mill around, take in the atmosphere and soak up the energy, excitement and all the little spontaneous moments that are completely unique to this approach to musical theatre.

“Mill around, take in the atmosphere and soak up the energy, excitement and all the little spontaneous moments that are completely unique to this approach to musical theatre.”

Lucy Penrose’s Rizzo is great, sardonic fun, and she threatens to steal the whole night with a cabaret style repurposing of her big solo number ‘There Are Worse Things I Could Do’. Stephanie Costi as Sandy and the aforementioned Liam Morris more than do justice to the iconic roles they interpret, and David Fearn’s gorgeous vocals are a real treat throughout the night, even if it feels like something of a missed opportunity to not have Teen Angel (Frankie Avalon’s cameo in the OG film) be more of a standout by being played by a different member of the talented company.

But we’re not electing class president or head boy/girl. Rydell High, Year of 1959 are a talented, spirited bunch across the board and they deserve top marks in their yearbook (my ignorance towards the American educational system now on full display).

For fans of Grease in any incarnation, then a trip to Secret Cinema and Today Tix’ faithful, exciting and turbo charged summoning of it is a surefire recommendation. Battersea Park has been transformed into California for six weeks only, and Costain, Weber and their talented team take the idea of immersive performance and dial it up a gear or five.

Grease: The Immersive Movie Musical is here, and is set to turn those Summer nights into a heatwave of great music, spirited performances, joyful immersion… burnin’ up the London quarter mile on a trip to Rydell that fans will be hopelessly devoted to.