#1
Posted: 5/4/05 at 5:08pm
5.3.05
So, I finally did it. I went back to the Palace. And you know what? I survived. I actually wasn't that sad, even. It was more nostalgic. I'm sad AIDA's gone, but it's home to a really fun little show now, and more than anything else, that theatre is a place where I have lots of beautiful memories... not sadness. Every so often, especially when the stage was bare and there were just some colored lights, I'd flashback a bit, and picture Adam up there, or the old sets... but I wasn't sad. In fact, I kind of smiled a little bit. I miss it, but it hasn't died completely, I suppose.
ASU really is cute. If you're able to get past the headspace of hating the jukebox shows and the idea of unoriginality, and just take the show for what it is, it's not all that bad at all. The best thing about All Shook Up is that unlike Good Vibrations, or even Mamma Mia! which isn't nearly so bad as Good Vibes was, it knows exactly what it is. It knows that its plot is a thin, unoriginal one that's sort of Bye, Bye, Birde meets Hairspray meets Footloose (and based loosely on Twelfth Night), and it doesn't take itself too seriously, and doesn't try to be anything more than what it is. The dramatic elements it does have are all in jest and jokingly overdone, and it works. The audience laughs a lot, and the joke is definitley not on them. It just works better - everything feels really tight, and it doesn't look weak to a spectator. It's well put together, there's tons of radiant energy, and they have superb dancing talent - all things that the others, save for Movin' Out, don't feel like they really have.
Stephen Oremus was conducting, and I just love watching him. His orchestrations for this are GREAT. Similar to what was done with Movin' Out, the orchestrations for ASU are emormous and full, with a pretty decent-sized orchestra. The CD will absolutely be worth buying for that, as well as for the cast.
Cheyenne brings his seamless vocals and outpouring of sex appeal to Chad. He has great comedic timing, and plays a big part in the show's philosophy of not taking itself too seriously. He has absolutely command of that stage, and completely deserves to finally be originating a role - a lot of his domination of the stage is probably due to his physical size, but you can't take your eyes away from him. There were some points where his dancing looked a little bit awkward, but it was mostly in the more character-oriented stuff like the knee thing Elvis did than more "typical dancing," which he does just fine. I'm sure he'll get better, too. (And I love his entrance, by the way.)
Jenn Gambatese has an adorable, yet very powerful voice. She acts prettty well... my only huge complaint on her was that even though I know she's supposed to be a tomboy, the way she walks doesn't look guyish at all. It looks really fake, and more like a gorilla than a girl trying to act like a guy. Minor, but sort of irritating.
There's a huge amount of vocal talent in the smaller roles, as well; Nikki James, Alix Korey (who I found annoying and grating at first, but then I warmed up to her performance), Anika Larsen, and Sharon Wilkins. Not as vocally talented, but still a nice performance is Jonathan Hadary as Natalie's father. He and Jenn form a believable, loving father-daughter pair on stage.
Shameless chorus boy plug - Justin Bohon!!! I fell in love with him as Will Parker in the Oklahoma! revival, and it makes me so happy to see him around. I saw him last summer in the Producers, too. So yay, I finally met my favorite chorus boy ever last night! He does some really impressive dancing here, and you should all look out for him!
The sets are kind of amateurish to look at, but the movement they do is impressive, at any rate. The bikes and busses that move are really cute, as are the backdrops that insinuate motion. They're a little silly and overdone, but you can't really help but like them a little.
So, basically - it's a cute show. Go see it, but it's not really going to be at the top of the must-see list. Audiences seem to be loving it, so it'll be around for a while.
A work of art is an invitation to love.
So, I finally did it. I went back to the Palace. And you know what? I survived. I actually wasn't that sad, even. It was more nostalgic. I'm sad AIDA's gone, but it's home to a really fun little show now, and more than anything else, that theatre is a place where I have lots of beautiful memories... not sadness. Every so often, especially when the stage was bare and there were just some colored lights, I'd flashback a bit, and picture Adam up there, or the old sets... but I wasn't sad. In fact, I kind of smiled a little bit. I miss it, but it hasn't died completely, I suppose.
ASU really is cute. If you're able to get past the headspace of hating the jukebox shows and the idea of unoriginality, and just take the show for what it is, it's not all that bad at all. The best thing about All Shook Up is that unlike Good Vibrations, or even Mamma Mia! which isn't nearly so bad as Good Vibes was, it knows exactly what it is. It knows that its plot is a thin, unoriginal one that's sort of Bye, Bye, Birde meets Hairspray meets Footloose (and based loosely on Twelfth Night), and it doesn't take itself too seriously, and doesn't try to be anything more than what it is. The dramatic elements it does have are all in jest and jokingly overdone, and it works. The audience laughs a lot, and the joke is definitley not on them. It just works better - everything feels really tight, and it doesn't look weak to a spectator. It's well put together, there's tons of radiant energy, and they have superb dancing talent - all things that the others, save for Movin' Out, don't feel like they really have.
Stephen Oremus was conducting, and I just love watching him. His orchestrations for this are GREAT. Similar to what was done with Movin' Out, the orchestrations for ASU are emormous and full, with a pretty decent-sized orchestra. The CD will absolutely be worth buying for that, as well as for the cast.
Cheyenne brings his seamless vocals and outpouring of sex appeal to Chad. He has great comedic timing, and plays a big part in the show's philosophy of not taking itself too seriously. He has absolutely command of that stage, and completely deserves to finally be originating a role - a lot of his domination of the stage is probably due to his physical size, but you can't take your eyes away from him. There were some points where his dancing looked a little bit awkward, but it was mostly in the more character-oriented stuff like the knee thing Elvis did than more "typical dancing," which he does just fine. I'm sure he'll get better, too. (And I love his entrance, by the way.)
Jenn Gambatese has an adorable, yet very powerful voice. She acts prettty well... my only huge complaint on her was that even though I know she's supposed to be a tomboy, the way she walks doesn't look guyish at all. It looks really fake, and more like a gorilla than a girl trying to act like a guy. Minor, but sort of irritating.
There's a huge amount of vocal talent in the smaller roles, as well; Nikki James, Alix Korey (who I found annoying and grating at first, but then I warmed up to her performance), Anika Larsen, and Sharon Wilkins. Not as vocally talented, but still a nice performance is Jonathan Hadary as Natalie's father. He and Jenn form a believable, loving father-daughter pair on stage.
Shameless chorus boy plug - Justin Bohon!!! I fell in love with him as Will Parker in the Oklahoma! revival, and it makes me so happy to see him around. I saw him last summer in the Producers, too. So yay, I finally met my favorite chorus boy ever last night! He does some really impressive dancing here, and you should all look out for him!
The sets are kind of amateurish to look at, but the movement they do is impressive, at any rate. The bikes and busses that move are really cute, as are the backdrops that insinuate motion. They're a little silly and overdone, but you can't really help but like them a little.
So, basically - it's a cute show. Go see it, but it's not really going to be at the top of the must-see list. Audiences seem to be loving it, so it'll be around for a while.
Updated On: 5/4/05 at 05:08 PM
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