THEATER REVIEW: 'All Shook Up'
It's a little unfortunate that "All Shook Up" opened at Roger Rocka's Dinner Theater just a week after the national tour of "Mamma Mia" played the Saroyan Theatre. Both are so-called "jukebox musicals" that tell their stories by stringing together selected songs by a performer or group. With the memory of "Mamma Mia" so fresh in the minds of many theatergoers, it's hard when seeing "All Shook Up" not to compare the two.
While no one is claiming that "Mamma Mia" is classic literature, that long-running show based on Abba songs has emerged over the years as a clever and endearing powerhouse example of the genre. You can't really say the same thing for "All Shook Up," which uses Elvis Presley as its creative gimmick. At its best the show is a sweet little trifle, and at its not-so-best is just kind of bland.
The cast is very young in this Good Company Players outing, which on one hand imparts a freshness to the proceedings and on the other makes the production seem, well, very young. When a charismatic "roustabout" named Chad (played in an Elvis-like leather jacket by Jesse McCoy and driving a full-size motorcycle, albeit with training wheels) arrives in a 1955 small town in Middle America, he immediately attracts a lot of attention, including that of a tomboy girl mechanic named Natalie (Kaitlyn Nichols).
Joe DiPietro's book (he's best known for "I Love You, You're Perfect, Now Change") is the classic rebel-makes-waves storyline: very retro laced with modern sensibilities, including an interracial romance and a gay-friendly subplot. With a nod toward Shakespeare's "12th Night," including various pairs of unlikely lovers, mistaken identities and cross-dressing deception, the show aims for a madcap feel. Every few minutes or so, another Elvis song pops up, from "Hound Dog" to "Blue Suede Shoes," and as we rollick along a silly plot, the main diversion is anticipating how the song lyrics will be worked into the storyline.
Director Laurie Pessano strives for a bright, boppy feel in "All Shook Up," and she draws some energetic performances from her cast. The standout is a very fine Quentin E. Sanford as the hapless Dennis, an uber-nerd who has pined for years after the unattainable Natalie. When Sanford -- who has grown up on the Good Company stage -- first appears decked out in a bright plaid madras shirt, crisp khakis and thick black glasses, I almost didn't recognize him. (It seems like just yesterday he was playing a tea cup in "Beauty and the Beast.")
Sanford brings a boisterous enthusiasm to the role, and it's contagious. Early on, when he freezes on stage in open-mouthed horror at the realization that his beloved has a crush on the new guy in town, he does it like a seasoned pro: campy enough to match the material but not so over-the-top that he's mugging. Later, when he belts out a love-sick version of "It Hurts Me," it's a beautifully directed and performed moment. I think that this is the role in which Sanford has truly come into his own on the GCP stage, always a happy occasion.
Larasha Smith, as a bouncy Lorraine, has some nice moments as one-half of an interracial couple, and Max Debbas' blustery Earl, as a toadying cop, is likewise a treat. A snippy Abby Sager, as the town prude, settles into her big number, "Devil in Disguise," with aplomb, and Nicholle Cash's prissy Sandra (an uptight museum curator) is amusingly droll.
The rest of the cast doesn't quite connect with the material in the same effortless way. McCoy has a nice, strong bass voice, but on opening night, he was not as charismatic in the pivotal Elvis role as I was expecting. (He had some awkward singing moments switching octaves; his range isn't ideal for this role.) Nichols is sweet but still a little tentative on stage. Jeremy Hitch is an endearing military-school cadet, but he does show a little vocal strain in some of his songs, as do several other men in the cast. (I've noticed an awkward tendency in some recent GCP productions of male singers trying to belt out high notes that they instead should be treating more gingerly. Better to go for in tune than brash.) Lance Casper, as a striving-to-be-hip dad, could use more confidence on stage, and even a GCP stalwart such as Janet Glaude, who plays a sassy bartender, struggles a little to find the sizzle in the show.
You could say the same for the production as a whole. Andrea Henrickson's lighting design doesn't go far enough in delineating the transitions from spoken dialogue to goofy uses of song, particularly when the script is interrupted by snippets of well-known songs. (I do love the neon Budweiser sign hanging in the David Pierce's spiffy bar set, however.) The dancing is a little weaker, too, than a show like this demands (Julie Lucido is choreographer), particularly in "Devil in Disguise" and "C'Mon Everybody."
Overall, "All Shook Up" will likely be a big treat for hardcore Elvis fans. But the production never matches the effortless appeal of other recent GCP period shows as "Beehive" and "Thoroughly Modern Millie." Perhaps it's because stringing a show together from Elvis songs can leave a book writer more shook up than you'd think.
Comments:
Mr. Munro-
I agree and siagree with your review. Which is normal for me.
I saw the show opening night, and had a delightful evening. The timing was brisk, the dancing energetic and fun and most importantly the vocals OUTSTANDING!
I agree about McCoy as Chad. He didnt seem comfortable with the vocals or the Elvis persona. I would have like to see atlease one GOOD Elvis move.
Nichols at Natalie was just fine. Not too much, but played the part just as she needed to. She lacked a little in her comic timing, but she served a very delightful evening of entertainment. Keep your eyes peeled, she (and her up and coming voice) is going to do some amazing things.
Sanford as Dennis, was as you said the standout of the show. I agree entirely. I thoroughly enjoyed the "It Hurts" song in the second act, hes another i expect amazing things from. I plan coming back later in the run to see the show again, and im sure by that time this young comic will just be amazing!
Smith as Lorraine was vocally awkward and weak, her overall stage presence was tentative in many ways. Hitch as Dean was well suited for the vocals, and had a cute stage presence, but he was too stiff and uncomfortable. He seemed new to the game.
Glaude as the old bar owner was AMAZING. Her performance was OUSTANDING. I disagree entirely with you on this performer, she delivered perfect reads and a breathtaking voice. SHE is the standout among the older more mature members of the cast.
Yes, Sager and Debbas are fun. Although Sagers, overall vocal tone was distracting in this show. odd? Debbas had perfect comic timing.
I enjoyed All Shook Up.
Come back and see it in a few weeks, im sure youll love it. I plan to come backa few times more
Posted by: Heather at March 25, 2008 8:32 AM
I saw the show last night. I really really enjoyed it! Here are my favorite moments/characters...
Dennis & Sandra: The moment of realization near the end of the 2nd Act is Hillarious! (And quite a kiss!). Both of these accomplished performers really pulled the show together and made the evening very enjoyable.
Sylvia (Glaude): Was amazing. Simple AMAZING!
Natalie: Was pretty good. She was a little tired or weak, im not sure. She didnt have all that much energy. But she brought a cheerful tone to the character. Good Job!
I loved Max Debbas, especially in his moment of realization with MAyor Matilda. Good job! He is by far one of the funniest performers I have seen in a good long time at the music hall.
Dennis dressed somewhat like Chad and wearing a "hunting cap" as another favorite moment of mine.
Hitch "I can dance now mom!" was delivered so well, what a funny moment!
Overall the show was a total success. I agree with Donald and many parts and Heather in many too. But you both need to just calm down and realized that its COMMUNITY THEATER, not a broadway sized touring show like "mama mia"
Posted by: Emily at March 27, 2008 11:46 AM
Wow~
What a terrific show!
Sanford and Glaude totally stole the show.
But you both were WAY too harsh on McCoy, ive watched this kid grow up and hes great!
Posted by: Carol Fitzgerald at March 27, 2008 11:50 AM
Mr Munro -
i must agree with Ms. Emily, keep in mind this is community theater, why go comparing it to a TRAVELINIG SHOW such as "Mama Mia"
Chad: I feel if you weren"t going in expecting Elvis, he did a great job, but true (I read the interview you had with Mrs. Pessano, saying Chad was SUPPOSE to be a replica of Elvis) Mccoy had trouble capture the essance of which Elvis had. I felt as though he was not confident.
Natalie: My goodness, Ive seen plenty of GCP shows, and this girl amazes me. Indeed I agree with the others her comic timing does need a little more work, but the attitude and voice on this young lady is remarkable. She's an up and coming star Mr. Munroe, and you need to note that.
Dennis: I agree 200% percent. Although in "It Hurts Me" Sanford needed much more work with his vocals.
Sandra: The sad thing is I don't remember much of her performance. Ms. Cash has never had a standout performance to me. I feel she could have done much more work with her character, it's almost as if she didn't care.
Sylvia: Are you kidding me? This women has remarkable talent. Her voice STOLE the show my friend.
Jim: My problem that I can't get over is the fact he's suppose to be a 16's father, and he much to old.
Matilda: Hysterical
Earl: Comic skills amazing.
I respect your opinions Mr. Munroe, but sometimes I wonder if we see the same show.
Posted by: Tyler Brennan at March 27, 2008 6:33 PM
Donald -
Why couldnt you put this review in the paper than the one that appeared today?
hmm. this one is much better.
had pretty much the same thoughts as you. except glaude was fabulous. absolutley amazing.
nichols as natalie was a little off wednesday evening. ehh. i would much rather have seen a more confident performer play the role.
i did not like matilda at all. funny but vocally awful. i dont know what the pessanos were thinking with sager.
agree with a lot of the above comments. earl was great, dennis super funny and a powerful and sweet voice, sandra was good? chad was very well played, but i wanted to see a hip swivel or too, that looked good. ha.
lorrainne and dean were fine. but i forgot them by bows. i did enjoy the "i can dance now mom" moment.
overall, just fine. not an amazing show. but very enjoyable.
Posted by: Taylor at March 28, 2008 12:53 PM
To Emily and Tyler:
When I brought "Mamma Mia" into the discussion about "All Shook Up," it was not to compare the performances of the two shows. Obviously, a national touring company has more resources than Good Company. "Mamma Mia" was an Equity show just one step removed from Broadway. (However, I have seen some Good Company shows in the past that have been as good or even better than the same title touring through the Saroyan.) What I was doing in my review was comparing the genre of "jukebox musicals," of which both "Mamma Mia" and "All Shook Up" are examples. My opinion is that "All Shook Up" is a very slight show, and that for people who look to "Mamma Mia" as a jukebox-musical gold standard, it might be a disappointment.
To Taylor: The review that ran in the print edition of The Bee in Friday's 7 section was condensed from the online review. As far as I can recall, the language in both reviews is the same -- one is just shorter than the other. Of course, condensing any story can be tricky, especially when you're dealing with criticism. I try to do it in a way that retains the flavor of the original review. Obviously, this time I wasn't able to do that to your satisfaction.
Posted by: Donald Munro at March 28, 2008 2:22 PM
Mr. Munroe
Overall I do agree with most of your review. All of the actors that you praised I completely agree were delightful. The things you found lacking I think were directorial errors, Janet Claude for instance, I saw in Beehive and was equally impressed by her performance in All Shook Up. She’s too strong of a performer to be too little on stage unless she was directed that way. And Lance Caspar’s physical comedy was too funny for him to be lacking any confidence, I think that is just how the director must have wanted him to be.
To Taylor,
The things you disliked I also know had to be director issues. I’ve heard Sager sing outside of GCP and have been in awe. I do agree that her vocals here were not her best, but I think that is what made the Devil in Disguise number so funny, the stuffy mayor trying to sing and dance (and I think that is what the Pessanos were thinking too or they would have directed her to sing more musically correct). As funny as the show was as a whole, that character and that number were hysterical.
I loved this show, I’m sure that I will see it again before the run is over. And who knows, the little changes that take place between opening night and the end of the run could show it being even more hysterical
Posted by: Donna at March 28, 2008 5:43 PM
It took me a while to find time to see the show, and I know I'm posting late, but here goes...
I thought the show was fun. It has good energy, and fun music, and some great voices. Did I LOVE it? Meh. But it's not really the fault of the performers-- I just don't think I'm a big fan of the show. (For starters, I think Elvis music is "fine." I know, I know, sacrilege. But it does sort of hinder the enjoyment if you're not in love with the music). Oh, and it was loud. Seriously loud, and I was in the back row. Dynamics are a great thing. So is not shouting.
I thought McCoy and Nichols were fine as leads. Probably not the best option to carry a show, but probably the best option who auditioned. :) Cash was fabulous. Glaude was... well, she epitomized the reason everyone gasps when someone says "Janet Glaude is in the show." :)
And Quentin (yes, I'm aware I've used last names to reference everyone else, but when you watch a kid grow up with his name on his shirt, he's always going to be Quentin) had some really great moments. There were times when he was just good, and other times when he was so good he made other people on stage look like amateurs.
By far, though, my favorite moment in the show was "Now or Never." That scene is built (and sang!) so well, to the point that we're really rooting for these characters. And when he DOES fianlly kiss her, the audience reaction is so genuine, and completely deserved.
Posted by: Elizabeth at May 9, 2008 7:33 AM
Saw the show last week with Kaitlyn's grandmas and great aunt it is amazing how far she has come she will be a star some day without a doubt. Quentin had really come a long way. Kaitlyn grandma loves you,misses you and thinks you were fabulous in this show.
Posted by: Kathy at May 19, 2008 4:15 AM
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