SHOW INFORMATION: Through August 24th. Schedule and prices vary. Call 1-800-88-TOBYS or go to www.tobysdinnertheatre.com for tickets and information.
◊◊◊◊◊ out of five. 2 hours, 20 minutes, including intermission. Very mild sexuality.
I am not a huge Elvis fan. I know only of his biggest hits and a small number of his films. It isn't that I don't like the King's work, it's more that he doesn't speak to my generation. So, imagine my surprise and delight at the opening of All Shook Up at Toby's Dinner Theatre of Columbia last weekend! A jukebox musical in much the same vein as Mamma Mia!, this frothy funfest is an original (mostly) story that uses the Presley catalogue to (gulp) do what all good theatre songs do: progress the story, comment on the action and develop character. This is one show only the snobbiest of theatre snobs can turn their nose up at, for not one song feels forced or shoe-horned in. It helps that a great deal of the songs are not presented as Elvis performed them, too; that is, you'll recognize the tune and the words but not the arrangement. Those arrangements are stellar and were done with an eye toward creating a piece of theatre, not boosting Elvis' record sales. Is it brilliant theat-ah? Heck, no, and we are thankful for it! As the world around us goes to hell in a hand cart, how nice to leave the oppressive heat, oppressive gas prices and oppressive world news behind and cool off for a few hours with a show that goes down as smooth as homemade lemonade.
This production is as colorful as a summer carnival and as explosively energetic as a July 4th fireworks display. And that is courtesy of Toby Orenstein herself and her co-director, Lawrence Munsey, both of whom have managed to wring every bit of silly out of this gem without ever going too far. The performances, uniformly well done, indicate that the directing team knows how to handle a joke, mild sentiment, and a crazy, Shakespeare inspired script. (Book writer Joe DiPietro has borrowed heavily from the Bard's best techniques – unrequited love, mistaken identity, gender bending, lover swapping and a decent social message – and some of his best comedies, All's Well That Ends Well, a dash of The Comedy of Errors, and hint of Midsummer Night's Dream.) In fact, the characters often deliver lines from the well known canon, including sonnets, Romeo and Juliet and others. To keep all of that in check, straightened enough for an unknowing audience, and with a pace that would make an Olympic runner gasp for breath, is a credit to Ms. Orenstein and Mr. Munsey. Adding to the fun and frolic and a generous helping of high octane dance numbers for a dazzling ensemble, all of whom look like they are having the best time doing the show, created by Ilona Kessell. Rounding out the design team is Richard Montgomery (Titanic: The Musical), who has created an eye-popping amusement park atmosphere, Lynn Joslin who again has created kaleidoscope magic with her lighting effects, and Janine Gulisano-Sunday and Mr. Munsey's sweet 50's inspired rainbow-of-color costumes (complete with blue suede shoes). Special kudos to musical director Douglas Lawler, who commands the band and has lead the cast in creating vocals as powerful as they were in Titanic. The entire team is working at 150% here.
All Shook Up takes place in the 1950's in a middle of nowhere American town, run by a morals loving tyrant and her police henchmen. The town may be morally clean, but it is decaying in a fast death. Enter roustabout Chad, who brings music, magic and love with him on his motor bike. Everything he touches turns to gold and soon the town is thriving. Love is in the air, but no one who is destined for each other knows the other one exists. Tongue is firmly in cheek, as the characters vacillate between arch stereotypes and wickedly funny send ups of the same.
