#1
Posted: 2/25/05 at 12:41am
It's impossible to watch ALL SHOOK UP with a critical eye and not give it special treatment, being a jukebox musical. It's hard to review and critique these shows, because in my mind, the standard is already so much lower than for an original musical. That's not exactly a bad thing, because ALL SHOOK UP definitely holds it's own - jukebox musical or not. Compared to GOOD VIBRATIONS and MAMMA MIA, ALL SHOOK UP is like SWEENEY TODD of the jukebox musicals currently on Broadway. Don't worry, I'm not saying ALL SHOOK UP is like SWEENEY TODD in any way, other than it sets the example for all musicals of that genre to follow. ALL SHOOK UP is far from perfect - it has many flaws (mainly with acting and story line,) but it's only the 4th or 5th preview, so I would say they're in excellent shape.
What's interesting about this show is that they borrow SO much of earlier musicals - both great and not so great. You have the small, midwestern, timid town visited by a 'rebel-rouser' (a la Sweet Apple, Ohio and Conrad Birdie.) Upon his arrival, everyone begins to fall in love and see the world through happier eyes (again, BYE BYE BIRDIE.) There's even a mayor who wants Chad, the visitor, sent away from the town and discourages all sorts of loud music and dancing (a la THE MUSIC MAN, FOOTLOOSE.) In the end, everything is sorted out, people are in love, and the world looks good. The mayor even has a revelation and starts seeing things a lot differently, even though her daughter is in a relationship that "mixes colors," a la Prudy Pingleton in HAIRSPRAY. And of course, after the curtain call, the cast sings and dances to a random Elvis song just for the hell of it, a la MAMMA MIA and GOOD VIBRATIONS. The plot is very simple, and the ending can be predicted halfway through Act One. Nonetheless, you don't care much about how the show ends because getting there is so much fun.
The cast is generally pretty good - no one is miscast, they all have great chemistry and fun together, but something is slightly off, and I can't put my finger on it. I think part of it has to do with them taking themselves too seriously - which they don't do the entire show. When they're goofing off and having fun, they shine and the audience eats them up. When they get serious, try to act heartbroken, or try to deliver meaningful, melancholy power ballads or songs to try to get the audience to feel bad for them (and don't worry, there are only a few,) it doesn't work AT ALL. Now, I wouldn't call that a tragic flaw, because there's no way around it in these kind of shows - they can't re-write the show. I'm making it sound much more dramatic than it is, but it distracted me and kept me from enjoying some of Act Two. Act One flies by, and it's funny and fun from top to bottom. Act Two, however, predictably unfolds at a sometimes crawling pace.
The music has been wonderfully orchestrated with fantastic new arrangements that make you wonder why this music hasn't been on Broadway before. It seamlessly fits in to the fast paced book (by the clever Joe DiPietro), and the score enhances the entire show. The same cannot be said with GOOD VIBRATIONS, where the score does not fit into the show and sticks out like a sore thumb. The songs all sound better than ever here - as if there were a reason to be performed on stage - again, unlike GOOD VIBRATIONS. I will DEFINITELY be buying the cast recording (which the playbill claims is already available) because it sounds so fresh and exciting.
I suspect there must have been some choreographic troubles, being that a "helper" was brought in just a few days ago to tighten things up. I don't know how much has already been done, but the choreography as it stood tonight was excellent - always satisfying, particularly JAILHOUSE ROCK. It's funny - the choreography is best in JAILHOUSE ROCK (very Fosse Steam Heat like, with a faster beat,) but it is the one song that does not fit into the plot at all, is completely random, and makes no sense. Still, I didn't care much because I loved the number so much.
The sets are standard Broadway and work very well - very HAIRSPRAY-like (same designer.) The lighting is great, the sound is wonderful, and the orchestra sounds amazing. Now for the cast...
Jenn Gambatese is agreeable and fine, with a great voice. I don't see everything in her that another board member did, suggesting a Tony nomination for her decent performance, but she's in no way bad. She's fine, good, great even - just not Award worthy.
Jonathan Hadary is, again, fine as Jenn's (Natalie) father, with some humorous moments.
Mark Price was much like his character in DANCE OF THE VAMPIRES - very strange and goofy, except this time he was human. Funny at times, he makes some pretty strange decisions at points, but overall he's agreeable. He has a song in Act Two, "It Hurts Me," but he can't sing all that well and you can't understand a single word he sings. Othwerwise, he's fine.
Sharon Wilkins is good - nothing more - as Sylvia, local bar-owner and mother to Lorraine. She has some funny moments, but overall her comic timing is very off. She could have had some extraordinarily funny moments, but kind of threw those lines away. She has an out of place, rather pointless love ballad late in the show, "There's Always Me." She sounds like a true diva singing it, but it was so out of place that it was obvious that they only gave her a song so she could have a real diva moment. Her character is reminiscent of Motor Mouth in HAIRSPRAY, but less developed.
Nikki M. James is fine, like the rest of the cast, as Sylvia's daughter, as is the rest of the cast. Alix Korey is hysterically stern and rigid as the Mayor, and she was my favorite part of the show. As her son, Curtis Holbrook was agreeable, as was John Jellison, who has little to do as The Sheriff until the final scene. Leah Hocking (who was brilliant in DANCE OF THE VAMPIRES) definitely shines here in a funny and cute, if underdeveloped and underwritten role as Miss Sandra, object of affection of several cast members.
Now finally, Cheyenne Jackson as Chad. He doesn't quite have the star quality and spark this part needs upon his first few moments, but soon the audience falls in love with him right along with the rest of the town. Not only is he extremely good looking, but he has a fantastic voice and is a great actor. This man has, by far, the largest thighs I have ever seen on a man - in a hot, muscular way - not in a Liz McCartney way. He is especially great when he is being Chad - not Chad being Elvis. As soon as he starts to imitate Elvis, he doesn't succeed as brightly as he does when he's not channelling Elvis, but I guess it comes with the territory. Overall, I was very pleased with him and can finally see what all the buzz was about. And yes everyone - CHEYENNE TAKES HIS SHIRT OFF IN THE BEGINNING OF ACT TWO. He goes skinny dipping, but sadly, he only removes his shirt.
So overall, the plot is definitely weak and the book needs some work. I can't say how much it's going to improve over the next month or so, but it definitely has potential. As far as Tony awards, I can see nominations for choreography, orchestrations, and set design. That's all I can really picture at this point until the rest of the season starts to shape up. Now, concerning critic's reviews, after a mind boggling experience like GOOD VIBRATIONS, they might be a little more generous to this show. I do not think this show will get rave, or even overly positive reviews, but it will not be ripped apart like GOOD VIBRATIONS and BROOKLYN, and deservedly so. Regardless of what they say, I have a feeling this show will stick around for a bit - it's been selling like crazy, tonight's performance was virtually sold out, and the buzz surrounding it is excellent. Everyone walked out of the theatre beaming and smiling, and in a slightly better mood than what they walked in with. And for that, if only for that, this show is definitely a welcome addition on Broadway.
My favorite line in the show:
Chad to the Mayor: "You can't mix politics and religion!!!"
What's interesting about this show is that they borrow SO much of earlier musicals - both great and not so great. You have the small, midwestern, timid town visited by a 'rebel-rouser' (a la Sweet Apple, Ohio and Conrad Birdie.) Upon his arrival, everyone begins to fall in love and see the world through happier eyes (again, BYE BYE BIRDIE.) There's even a mayor who wants Chad, the visitor, sent away from the town and discourages all sorts of loud music and dancing (a la THE MUSIC MAN, FOOTLOOSE.) In the end, everything is sorted out, people are in love, and the world looks good. The mayor even has a revelation and starts seeing things a lot differently, even though her daughter is in a relationship that "mixes colors," a la Prudy Pingleton in HAIRSPRAY. And of course, after the curtain call, the cast sings and dances to a random Elvis song just for the hell of it, a la MAMMA MIA and GOOD VIBRATIONS. The plot is very simple, and the ending can be predicted halfway through Act One. Nonetheless, you don't care much about how the show ends because getting there is so much fun.
The cast is generally pretty good - no one is miscast, they all have great chemistry and fun together, but something is slightly off, and I can't put my finger on it. I think part of it has to do with them taking themselves too seriously - which they don't do the entire show. When they're goofing off and having fun, they shine and the audience eats them up. When they get serious, try to act heartbroken, or try to deliver meaningful, melancholy power ballads or songs to try to get the audience to feel bad for them (and don't worry, there are only a few,) it doesn't work AT ALL. Now, I wouldn't call that a tragic flaw, because there's no way around it in these kind of shows - they can't re-write the show. I'm making it sound much more dramatic than it is, but it distracted me and kept me from enjoying some of Act Two. Act One flies by, and it's funny and fun from top to bottom. Act Two, however, predictably unfolds at a sometimes crawling pace.
The music has been wonderfully orchestrated with fantastic new arrangements that make you wonder why this music hasn't been on Broadway before. It seamlessly fits in to the fast paced book (by the clever Joe DiPietro), and the score enhances the entire show. The same cannot be said with GOOD VIBRATIONS, where the score does not fit into the show and sticks out like a sore thumb. The songs all sound better than ever here - as if there were a reason to be performed on stage - again, unlike GOOD VIBRATIONS. I will DEFINITELY be buying the cast recording (which the playbill claims is already available) because it sounds so fresh and exciting.
I suspect there must have been some choreographic troubles, being that a "helper" was brought in just a few days ago to tighten things up. I don't know how much has already been done, but the choreography as it stood tonight was excellent - always satisfying, particularly JAILHOUSE ROCK. It's funny - the choreography is best in JAILHOUSE ROCK (very Fosse Steam Heat like, with a faster beat,) but it is the one song that does not fit into the plot at all, is completely random, and makes no sense. Still, I didn't care much because I loved the number so much.
The sets are standard Broadway and work very well - very HAIRSPRAY-like (same designer.) The lighting is great, the sound is wonderful, and the orchestra sounds amazing. Now for the cast...
Jenn Gambatese is agreeable and fine, with a great voice. I don't see everything in her that another board member did, suggesting a Tony nomination for her decent performance, but she's in no way bad. She's fine, good, great even - just not Award worthy.
Jonathan Hadary is, again, fine as Jenn's (Natalie) father, with some humorous moments.
Mark Price was much like his character in DANCE OF THE VAMPIRES - very strange and goofy, except this time he was human. Funny at times, he makes some pretty strange decisions at points, but overall he's agreeable. He has a song in Act Two, "It Hurts Me," but he can't sing all that well and you can't understand a single word he sings. Othwerwise, he's fine.
Sharon Wilkins is good - nothing more - as Sylvia, local bar-owner and mother to Lorraine. She has some funny moments, but overall her comic timing is very off. She could have had some extraordinarily funny moments, but kind of threw those lines away. She has an out of place, rather pointless love ballad late in the show, "There's Always Me." She sounds like a true diva singing it, but it was so out of place that it was obvious that they only gave her a song so she could have a real diva moment. Her character is reminiscent of Motor Mouth in HAIRSPRAY, but less developed.
Nikki M. James is fine, like the rest of the cast, as Sylvia's daughter, as is the rest of the cast. Alix Korey is hysterically stern and rigid as the Mayor, and she was my favorite part of the show. As her son, Curtis Holbrook was agreeable, as was John Jellison, who has little to do as The Sheriff until the final scene. Leah Hocking (who was brilliant in DANCE OF THE VAMPIRES) definitely shines here in a funny and cute, if underdeveloped and underwritten role as Miss Sandra, object of affection of several cast members.
Now finally, Cheyenne Jackson as Chad. He doesn't quite have the star quality and spark this part needs upon his first few moments, but soon the audience falls in love with him right along with the rest of the town. Not only is he extremely good looking, but he has a fantastic voice and is a great actor. This man has, by far, the largest thighs I have ever seen on a man - in a hot, muscular way - not in a Liz McCartney way. He is especially great when he is being Chad - not Chad being Elvis. As soon as he starts to imitate Elvis, he doesn't succeed as brightly as he does when he's not channelling Elvis, but I guess it comes with the territory. Overall, I was very pleased with him and can finally see what all the buzz was about. And yes everyone - CHEYENNE TAKES HIS SHIRT OFF IN THE BEGINNING OF ACT TWO. He goes skinny dipping, but sadly, he only removes his shirt.
So overall, the plot is definitely weak and the book needs some work. I can't say how much it's going to improve over the next month or so, but it definitely has potential. As far as Tony awards, I can see nominations for choreography, orchestrations, and set design. That's all I can really picture at this point until the rest of the season starts to shape up. Now, concerning critic's reviews, after a mind boggling experience like GOOD VIBRATIONS, they might be a little more generous to this show. I do not think this show will get rave, or even overly positive reviews, but it will not be ripped apart like GOOD VIBRATIONS and BROOKLYN, and deservedly so. Regardless of what they say, I have a feeling this show will stick around for a bit - it's been selling like crazy, tonight's performance was virtually sold out, and the buzz surrounding it is excellent. Everyone walked out of the theatre beaming and smiling, and in a slightly better mood than what they walked in with. And for that, if only for that, this show is definitely a welcome addition on Broadway.
My favorite line in the show:
Chad to the Mayor: "You can't mix politics and religion!!!"
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
Updated On: 2/25/05 at 12:41 AM
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