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The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Peer Reviews All Shook
Up Reviewed by Sherry Deatrick Entire contents are copyright © 2009 Sherry Deatrick. All rights reserved.
It's a testament to the life-affirming power of the musical that even a play as slight and insubstantial as Joe DiPietro's All Shook Up can leave me walking out of the Derby Dinner Playhouse feeling great. And on a gloomy, rainy night, no less. But then, I love almost all musical theater, even those of the jukebox variety. And this one comes with its own jukebox. The idea of taking the hackneyed format of Elvis Presley movies and turning that into a Broadway musical may seem a bit ill-considered. After all, Elvis movies are generally deemed to be the nadir of his career, as his multi-faceted talents were shoehorned into a narrow B-movie formula: pompadoured fellow comes to town, woos some chicks, sings some songs, maybe throws a couple of punches, and winds up in a happy ending for everyone. Imagine that Rodgers and Hammerstein had written The Wild One and you get a pretty good idea of All Shook Up.
But part of what keeps All Shook Up shaken up is its undercurrent of homoeroticism and interracial love plopped smack dab in the middle of Squaresville during the Eisenhower era. Add a heaping helping of William Shakespeare's crazy mixed-up lovers from Twelfth Night and As You Like It. With its plea for social equality, along with an exhortation to follow your dreams, this show has more gravitas than that of a mere Elvis romp and brings it a level approaching Hairspray. (In fact, the pre-show entertainment, provided by the Footnotes, included a Hairspray medley, to advertise next year's season. And the crowd really went wild when the Footnotes, and producer Bekki Jo Schneider, led them in a raucous rendition of "YMCA" from Derby Dinner's upcoming show, 8-Track.) The jaw-dropping professionalism of Derby Dinner's execution of All Shook Up was the real deciding factor in rating this show a hit and not a miss. At times there were twenty people on the stage, and delivering a solid simulacra of what it must have been like to see the show on Broadway, condensed onto Derby Dinner's relatively small in-the-round stage area. Happy Mahaney (who stars as Chad) is a very in-demand professional Los Angeles actor/comedian, and it must have been a real coup to get him here. His co-star, Julie Abner (who plays Natalie), is a seasoned pro from New York City with an impressive resume as long as your arm. The singing, dancing, choreography, musical accompaniment, costumes and lighting are all top-notch here, and I wouldn't be at all surprised if the quality of Derby Dinner's version surpassed the original Broadway version (which ran only six months). Well, I might be a little surprised. Fools may rush in, but not here. In the twinkling of an eye, complicated scene changes take place before you can say "Colonel Tom Parker" (not an easy task when changing from a gas station to a diner, and then back again). When the lights first come up on Sylvia (Brooke Aston) behind the diner's counter, she seems to materialize from the ether. Choreographer Stephen Brotebeck (who recently had a showcase at New York's Ailey Citigroup Theatre) provides snappy routines flawlessly executed by the performers. At times, the sound mix was a bit off on opening night, with the band drowning out the singers in the big finale, "Burning Love." I'm sure this glitch will be rectified. The musical arrangements transform even the most banal Elvis tune into a glorious full-on gospel that fills the theater with emotion. Other high points: Brooke Aston delivering some powerfully soulful Aretha Franklin-esque vocals; Brett Robinson's onstage bicycling prowess; and Paul Kerr's continual comedic antics (as the nerdy Dennis), which made him an audience favorite. The wedding gowns that are shed like butterfly cocoons, or fairy's wings. And for those who like obscure references, one scene includes a quote from Hitchcock's Vertigo. I'll leave it up to you to find it. If you're a casual Elvis fan, you'll enjoy hits like "Blue Suede Shoes," "Love Me Tender" and "Burning Love." If you're a hardcore Elvis fan, you'll appreciate more obscure song choices from the King's catalogue, such as "Fools Fall in Love," "Roustabout" and "Let Yourself Go." And even if you're not an Elvis fan at all, there's plenty to like about this well-presented show. (And it's also worth mentioning that Derby Dinner's food was delicious as ever! And with the wide variety, everyone's palate is sure to be pleased. I always enjoy watching the sparkler-bedecked cakes being delivered to the special people in the crowd.) Now, if only the audience would keep quiet during the show. But then again, the audience participation adds to that Shakespearean experience. I have to admit, it was funny when one gentleman anticipated a song lyric and said it out loud before it was sung. Perhaps the Footnotes could remind the audience that in addition to turning off their cell phones, they should be considerate of their neighbors and wait until intermission to discuss the show.
Featuring Julie Abner, Happy Mahaney, John T. Lynes, Brooke Aston, Brett Robinson, Paul Kerr, Kiersten Vorheis, and Eric Dieboldt. Tickets range from $29 - $42
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