Published on August 22nd, 2012 | by Glenn T
All Shook Up
The Spotlight Theatrical Company, Gold Coast
August, 2012
My very dear friend, the late Ellie Greenwich, was a young songwriter in New York City in the 1960s. There in the famed Rock & Roll Mecca, known as The Brill Building, the young writer worked with many amazing talents – often before they found success and fame. Of all the amazing tales from those heady days, Ellie loved to tell one story in particular – the day she rode the lift to the top floor. It was a simple scenario – Ellie stepped into the extraordinary, brass and mirror lined lobby of the Brill Building one cold Monday morning in 1962 and some distance ahead of her, saw a man step into the awaiting elevator. “Hold the lift”, she hollered as she quickened her step. A single hand appeared around the door and the gentleman did indeed hold the lift as Ellie lunged her brief case and hurled herself, with panting thanks, into the awaiting vertical carriage.
“Which floor maam?” he asked politely … finger hovering over the control panel. It was at this point that the young songwriter glanced to her left to answer the kind man … only to realise that she was standing in an enclosed capsule with Elvis Presley … her heart apparently paused for a moment. Ellie’s writing booth was on the 9th floor but she quickly noticed that he’d already pressed 11. “Twelve, thank you” she replied … there was no way she was going to end this journey a single floor earlier than was absolutely necessary. It was a brief encounter … but one Ellie savoured and considering the list of mega-stars with whom she would write, sing and produce throughout her sterling career … those brief moments “going up” with the King continued to rate amongst the brightest of her life.
Musically the show is strong – a sensational compilation score utilizing many of Elvis’ great hits (although I did miss my favourite “In the Ghetto” …
Name-dropping aside, I regale you with this anecdote as an introduction to the premise of the Spotlight Theatre’s latest production in which an Elvis wannabe strolls casually into a small generic American town and, with his smouldering good looks, swerving hips and sultry tones manages to turn the once prudish rural 1950s town well and truly on it’s ear. All Shook Up is an unashamed “juke-box musical” based upon the vast and impressive catalogue of music recorded by the aptly dubbed “King of Rock & Roll” in his remarkable 27-year career … and very little else. The story line is thin – the dialogue is naff. However, the music and the “tongue in cheek” attitude of the players somehow manage to maintain one’s interest just long enough to keep the show going.
Musically the show is strong – a sensational compilation score utilizing many of Elvis’ great hits (although I did miss my favourite “In the Ghetto” … however, I’m not quite sure how that one may have fitted in, so I’ll let it slip). The cast is, on the whole, vocally strong – two particular highlights include the ensemble number “Can’t Help Falling in Love” which splendidly closes Act I … and the superb solo performance of “There’s Always Me” by the enormously talented Katrina Lardner in the second act.
Under the expert guidance of Maestro Peter Laughton, the orchestra is tight and sounds well rehearsed. Whilst I felt that the opening number lacked a little “oomph”, the orchestral soon came into their own and generally sounded superb … and it was wonderful to see live musicians back in the Spotlight pit.
Comfortably carrying the lead role of the Elvis-like biker “Chad” is Ethan Jones. His opposite, the cross-dressing mechanic “Natalie” is beautifully played by the charming Tenele Graham.
This production was directed and choreographed by Jamie Watt and whilst his dance skills shine brightly in a wonderfully choreographed show, his directorial debut sadly, falls quite flat. I saw little sign of theatrical guidance with the actors appearing to have been left to their own devices to interpret their roles – not always doing so in tune with each other … and very little imagination was apparent in the blocking with cast milling on stage like children in a primary school pageant. I would suggest that these two responsibilities are far too large for any one person to consider taking on at once – let alone an inexperienced director. Any musical with a weak book such as this (and believe me, there are many … Gilbert & Sullivan wrote thirteen of them) relies upon clever direction and witty interpretation of the dialogue and often-unrealistic situations to elicit comedy and to keep the piece moving. The spoken scenes must not be pumped out simply as a conduit to the next great song, but embraced and developed as a part of the journey. When that journey is a bit of a fanciful stretch of the imagination (again, I use G&S as an example) other directorial devices should be called upon to maintain the energy. (Stuart Maunder managed this superbly in his recent OQ production of “The Mikado”).
Spotlight Theatre stage some wonderful productions throughout the year and whilst this may not be one of their best, it is still well worth the ticket price … if not for the energetic cast and the great music, for the extraordinary ladies’ chorus on-stage costume change that leaves the audience stunned (and me terribly impressed) in Act I. Blink and you’ll miss it!
About the Author
Glenn T Celebrating 30 years in show business, Glenn T is one of Australia’s most recognised and respected Production Designers of television, theatre and corporate events.
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Source:
http://www.fmvtvinsideentertainment.com.au/stage/theatre-review-all-shook-up/