"All Shook Up" at Toby’s is a Hunka Hunka Burnin’ FUN!

SHOW INFORMATION: Through August 24^th.  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 4^th 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. 

As the closest thing to bad guys the show has, the dynamic team of Daniel McDonald (The Full Monty) and Lynne R. Sigler (Fiddler on the Roof)threaten to walk away with the show as they strut around their little empire, holding court with a glare and a gold megaphone.  Jeffrey Shankle (George M!) and Shaunte Tabb (Once on this Island) are one of several pairs of star-crossed lovers, and their gorgeous voices, expert timing and energetic dancing really sets them apart.  Truthfully, when Ms. Tabb is on stage, you can't help but watch her every move.  Tamarin Lawler, as the sexy museum curator, Miss Sandra, takes the smart bombshell type to new heights, and Genevieve Williams brings an amazing presence and thrilling vocals to the production as the wise, sassy barkeep. 

One of the delights of regularly attending shows at Toby's theatres is seeing old friends and new faces.  Nowhere is that delight more exciting than in the amazing ensemble, which features many familiar faces – Heather Marie Beck, Scean Flowers, Ray Hatch, Tess Rohan and Kate Williams – plus newer (though most have several Toby's credits) dancers – Charlie Able, Jessica Marie Coleman, Dianna Collins, Parker Drown, Laura Keena, Chris Suchan and Laura Van Duzer.  That kind of talent in the ensemble tells you just how top notch this cast is. 

Perhaps the lone drawback to the show – though a loveable crowd-pleaser, to be sure – is the overwrought shtick of David James, who as nebbish goober Dennis, offers nothing new if you saw him in as nebbish goober Seymour in Little Shop, the nebbish goober Scarecrow in Wizard of Oz, or as the nebbish "character" in Holiday Hot Nostalgia.  Mr. James has a gift for comedic timing, and plays the type well, but surely he can do something different and just as well. 

On the other hand, what a complete joy to watch Toby's regular Andrew Horn tackle the charming and funny role of Jim Haller, widower and father to our heroine.  My God this man is funny!  And sweet!  And downright loveable!  His most charming moments, though, come when he interacts with the leading players.  He is loveable dad to Natalie, suave charmer to his lady loves, and willing mimic to the roustabout charms of Chad. 

This production really hits its stride though, each time its leads take the stage.  Separately they are white hot lightning bolts, and together their chemistry is so intoxicating one almost loses touch with reality watching them.  Tomboyish Natalie (and later the silliest butch Ed) is played by one of Baltimore's most charming leading ladies, Lauren Spencer-Harris (Thoroughly Modern Millie), who is alone worth the price of admission.  Equally at home in greasy coveralls or a grease smudged dress, she brings a sweet touch of genuine emotion to a character that requires her to sing, dance and be all over the emotional map.  But the most revelatory performance of the night belongs to David Jennings, who does a fine send up of Elvis, but also creates a fun, original character.  He is as sleek and sexy as his motorcycle.  Women swoon at his rubbery hip gyrations, and men gape in awe at his brute masculinity.  Did I mention how funny he is?  You will cry from laughing so hard at his antics.  Did I mention his voice?  What an instrument!  Can this really be the same guy who played Joseph here this past spring?  I simply can not believe this is the same guy!  (Note to the producers of the forthcoming tour of Cry-Baby: SEE THIS MAN FOR THE LEAD!  If he played it, you might still be on Broadway!) 

The entire company is a highlight!  Times are tight, but a four-course, all you can eat gourmet meal AND a Broadway caliber show for under $50.00 is the bargain of 2008!  Grab your blue suede shoes and RUN to Toby's Columbia.  It is more than worth the trip!

 

PHOTOS: By Kirstine Christiansen.  TOP to BOTTOM: David Jennings and Lauren Spencer-Harris; Daniel McDonald and Lynne R. Sigler; Shaunte Tabb and Jeffrey Shankle; Andrew Horn, Lauren Spencer-Harris, and David Jennings.

 

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