All Shook Up

 

Elvis is still “king” at least in Long Beach. I attended the final, sold-out, performance of the regional premiere of All Shook Up, featuring the music of Elvis, albeit made suitable for Broadway and minus sexual overtones, with a book by Joe Dipietro. It is touted as Shakespeare meets Elvis because it borrows from 12th Night and even As You Like It. Unfortunately this is not original as a combination of rock music and this Shakespearean comedy resulted in the highly successful 1968 musical Your Own Thing. In fact most of the plot of All Shook Up feels borrowed. There are elements of Grease and Bye Bye Birdie.

 There have been other attempts to incorporate one person’s music into a viable musical as in Moving Out (Billie Joel), Jersey Boys (Frankie Valli and The Four Seasons), and Mamma Mia (Abba). There have been many shows dealing with the 60s Hairspray, Bye Bye Birdie, Saturday Night Fever, Dirty Dancing, and soon Crybaby. Still All Shook Up succeeds, mainly because of Elvis, but also the powerful performances of its two stars Derek Keeling and Bets Malone, the lively direction by Steven Glaudini, and the choreography of the ubiquitous and talented Lee Martino.

Derek Keeling plays “Chad” the roving minstrel who is part Elvis, part James Dean, and part Marlon Brando in The Wild One.  He sings the hell out of the songs and gyrates his pelvis with the best of them.  Bets Malone, one of my very favorite performers, brings her usual vulnerability, acting chops, and unique singing skills to the role(s) of Natalie and then a male impersonation of a roustabout which wins Chad’s heart and should I say loins. Sexual longing and ambiguity is all part of the brew (this is where the Shakespeare comes in). Glaudini keeps things moving in order to accommodate 26 Elvis songs. Martino keeps things rocking in her choreography. It was fun to see ensemble member Charlie Williams who first caught my eye in Pajama Game. I expect him to move up to a principle role soon. I also loved Traci Lore vamping it up as the local museum head and Barry Pearl as Natalie’s father. Both were delightful.

At the end the audience jumped to their feet and seemed to have thoroughly enjoyed themselves. Apparently the show broke box office records. Count on producer Paul Garman to bring shows his audience wants to see. Produced by Musical Theatre West at The Carpenter Center.