BWW Reviews: You 'Can't Help Falling In Love' with ALL SHOOK UP at The Arundel Barn Playhouse

On August 16, 1977 we lost an American music and cultural icon: Elvis Presley. But, he has never truly left us. His memory endures with the vast amounts of music he recorded, the movies he made, and his likeness being used all over the planet. You would be hard pressed to find someone in this world that has never heard of Elvis Presley. With tribute artists performing in his likeness and multiple festivals around the world attracting fans of every age, it's no wonder that his music was lent to a Broadway musical. And just in time for the 36th anniversary of his passing, The Arundel Barn Playhouse's ALL SHOOK UP will help you relive yesteryear and maybe even hear the King's music in a completely new way.

The King of Rock n' Roll meets the Immortal Bard. It may seem like an unlikely pairing at first, but after further examination it almost makes perfect sense. Elvis sold millions of records in his career and arguably changed music forever (though the creation of Rock n' Roll is more accurately attributed to Jackie Brenston's song Rocket 88). If it's possible, his fame has only grown in the years since he passed away; his former home Graceland and his eternal resting place there are among the most visited tourist attractions in the world. Similarly, William Shakespeare wrote some of the most famous and memorable plays of his or any other generation (though there is the eternal argument that perhaps HE didn't write all of them), and coined thousands of words and phrases that we still use everyday. Both suffered untimely deaths, and both were no strangers to controversy, alive or dead. Their pairing in this musical unites their separate works in a wonderful and unexpected way.

Now, there are a few things you need to know before you take what I've just said as gospel. The book of the show (by Joe DiPietro) is LOOSELY based on Shakespeare's 1602 gem, Twelfth Night. AND, ALL SHOOK UP is NOT the story of Elvis' life. The score features songs that he made famous, and even some more obscure but still fantastic songs. Most people would refer to ALL SHOOK UP as a "jukebox musical". More and more these types of shows are making their way to Broadway, but this show does something a little different and in my mind more successfully than most. With recent Broadway hits such as Jersey Boys, Million Dollar Quartet and Motown, the original music that the likes of Frankie Valli, Johnny Cash, Carl Perkins, Stevie Wonder, Diana Ross etc. recorded stand on their own; the songs are not used as narrative or to advance the plot each time they are sung. Rather, they are used to mark the world and time of the show. In contrast, a show like Footloose (one of this writer's LEAST favorite shows but favorite MOVIES of all time) takes music that was written without character or throughline for a movie soundtrack, and attempts to have the characters sing these disjunct songs and have them make sense in context. What the creators of ALL SHOOK UP got right was using Elvis' music in both fashions; and it's a perfect mix of tribute and narrative.

The show takes place in "The summer of 1955, in a small you-never-heard-of town somewhere in the Midwest" as the program says. Through the King's music and the loose structure of Shakespeare's play, the small town struggles with the change that the country was seeing at the time: race relations, the rise of television, pop culture, Rock n' Roll, the Korean War and most importantly conservative America trying to save it's youth from certain despair. So, it's no wonder that the show features the music of a man that had kids flocking to record stores and watching his swiveling hips on TV while their parents gasped in terror and disgust. There are more twists and turns, love triangles (and even quadrangles) in this show to keep you guessing and laughing throughout. The story is equally simple and complex, and rather than "give away" much of the plot, I'll simply introduce the characters, and let you (hint hint...buy tickets NOW) see it in person for yourselves. A guitar-wielding roustabout named Chad (Chris Cannon) finds his way to the little town in the middle of nowhere. There he meets auto mechanic Natalie (Andrea Wright), who like much of the town, falls in love with him at first sight. Her father Jim Haller (Michael Soldati) has been left widowed, and Natalie's best friend Dennis (Zack Steele) longs to tell her he is desperately in love with her. The hangout of most of the town is owned by Sylvia (Deidra Grace) whose daughter Lorraine (Phylicia Freeman) also works there. Mayor Matilda Hyde (Beatrice Crosbie), her sidekick Sheriff Earl (Rick Nadeau) and her son Dean (Elliot Lane) seek to keep the town conservative and free from the influence of Rock n' Roll, interracial relationships, and at present the "dangerous" influence of Chad. The transplanted museum curator Miss Sandra (Shaina Vencel) is added into the mix, and becomes the apple of Chad's eye. Thus ensues multiple love triangles, cases of mistaken identity and above all a strong message: Be who you are, and love who you want to love. The cast is rounded out by a talented ensemble comprised of Matt Dornemann, Caleb Funk, Virginia Hudak, Eliza McCoy, Gavin Parmley and Kelli-Ann Paterwic. After having seen the rest of Arundel's strong offerings this summer, I would have to say this is by far their best production of the summer.

It's clear from the very start of the show that director/choreographer Taavon Gamble understands this show, this era, and what the show requires. His choreography is inspired by popular dance moves of the 50's, but he makes these now well-known dances fresh and new with his own twist. More than that, you never feel he has given the performers anything that is over their heads; he has catered to their abilities and strengths which results in their dance breaks looking clean and concise, and proves that he is a choreographer who understands that dance is a collaborative art. Particularly strong is his choreography for Phylicia Freeman as Lorraine in "That's All Right". He showcases her strong technique and ability to a tee. His direction is simple, yet never predictable, and it is clear that he pushed these performers to find the realism in these character's lives; when it may have been an easy choice to portray one-sided characters or caricatures of people. He may be new to The Arundel Barn Playhouse, but after this strong showing, I have no doubt they will want him to return again and again.

Chris Rhoton's set is also perhaps his best achievement of the summer. Both functional and fun, it is adorned with signs and practical lights that establish the 50's era of the play. The best part of his set is that though there are quite a few set pieces (a jukebox, a bar, Chad's bike, etc) he gives ample playing space to the performers without losing authenticity or leaving the audience guessing where they are. Complimenting his work is that of Michael Biagys, whose lighting design (my particular favorite is the musical notes that seem to fade into the heavens as the audience enters) helps to illustrate the time period, place and is never overdone. It would be easy to light some of the musical numbers as though they were in a rock concert, but Mr. Biagys nails the subtlety that the realistic scenes require. Check out the lights to suggest the abandoned fair grounds in Act II. A simple, but superbly done display. Not to be left out are the best of season costumes designed by Emily Atkins. It's harder than most people think to costume a show from a not so far away time period, and Ms. Atkins proves that it CAN be done, and done well. From the simple jean/leather jacket clad Chad to the stunning and smart dresses on Miss Sandra, she rounds out the creative team's efforts with wonderful displays of color (Lorraine's red dress) and functionality.

Chris Cannon as Chad is a breath of fresh air. As I said before, ALL SHOOK UP is not ABOUT Elvis' life, it just happens to use his music. Mr. Cannon makes the King's songs his own with his versatile voice and swiveling hips. He has the difficult job of driving much of the show's action, and rises to the occasion. And his comedic chops get a workout with his case of mistaken identity in the second act. His unrequited (or is it?) love interest Andrea Wright is adorable, endearing and delightful as Natalie. You feel her pain as she longs to find the man of her dreams and escape the trappings of her small town. Her turn as comedienne toward the end of the 1st act until the end of the show is also a triumph, as HER case of mistaken identity sets the plot on it's head. Her father Jim played by Michael Soldati is wonderfully awkward and shy. You feel his loss of love, and cheer him on as he strives to be "cool" with Chad's help. Zack Steele as the lovable "loser" Dennis is another triumph for the young actor. After keeping the Arundel crowd in stitches and evoking awwwws all summer, he steps into what is perhaps his best role yet, not in the least because he beautiful and versatile voice gets to take center stage. He arguably has the 11 o'clock number with "It Hurts Me" in the second act.

Shaina Vencel as the much sought after Miss Sandra is stunningly gorgeous, and it's no wonder the men in the show follow her around like a puppy. Her voice takes charge of numbers like "Let Yourself Go"; her Marion the Librarian-esque character turned vixen will have you laughing, and her sultry seduction of (you'll have to see for yourself) will have you rolling. The Mayor Matilda Hyde in the capable hands of Beatrice Crosby is staunch, starched, and thoroughly entertaining as her straight-laced and uptight demeanor come across with every syllable. Her rendition of "Devil in Disguise" is a high point of the show. Her sidekick, the near-mute Sheriff Earl (Rick Nadeau) will have you gasping for air through your laughter in the second act when his secret is revealed. Elliot Lane as Dean is the quintessential boy next door, looking to get out from under his mother's thumb. He removed the green mask he donned last week as Shrek to show you the sincere and sweet Dean beneath. His voice, though proven and fantastic throughout his other roles this summer, never falters.

Phylicia Freeman as Lorraine and Deidra Grace Chiverton as her mother Sylvia are two of the most astounding, stand-out performances in the show. Phylicia's voice is clear and powerful, and has finally been let out of it's proverbial cage. She not only dances up a storm in "That's All Right", but she let's loose her inner turmoil with such vocal versatility, you want her to be even more prominent than she is. Ms. Chiverton has the seemingly difficult task of playing the mother to a daughter who in real life is her peer. But she does so as convincingly as you can possibly imagine. Even her vocals in Chicago (as Mama Morton) and Shrek (The Dragon) cannot prepare you for the vocal master class she presents in this role. You feel and hear her heartbreak, her hopes, her fears, her anger in every note. The depth of her portrayal is really quite moving, and it's something you really don't see coming from the beginning.

Through my summer of reviewing shows around Maine, I have been hard pressed to find a more talented musical director and group of musicians than Alan Patrick Kenny and his fine orchestra: Nick Allen (Bass), Nate Gowen (Drums) and Tony Michaud and Mike McCormack (alternating on guitar). They rise above technical limitation to present their instrumentals as much more than an accompaniment but rather another character in the show. And this is due to Mr. Kenny's wonderful direction and orchestrations throughout the summer.

As the faithful fans of Elvis Presley gather around the country as the anniversary of his death approaches, do yourself a favor and take a trip to Arundel and see ALL SHOOK UP. You'll see the King's music in a whole new light, and you'll get a lot more for your dollar: superb entertainment. For tickets or for more information on The Arundel Barn Playhouse, visit www.arundelbarnplayhouse.com.

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