3D Theatricals Rocks ‘All Shook Up’

The month of May is a busy one for shows, so I wasn’t able to go to the opening weekend of 3D Theatricals’ remounting of All Shook Up. A schedule opening on Sunday, May 22 led us to Fullerton to the historic Plummer Auditorium, and we gladly attended with the older matinee guests on a breezy afternoon.  

As I have come to expect from the hosts of 3D Theatricals, we were welcomed by the gracious staff at the entrance and by Director T.J. Dawson, on the stage. There are no pre-recorded announcements with this group – one of the partners (the three “D”s equal siblings T.J., Daniel and Gretchen Dawson) and/or extended family members is onstage before every show to thank the patrons and get the crowd revved up for the performance.

All Shook Up is a show not to be taken too seriously. It is a campy, joyful, jukebox musical that weaves Elvis Presley tunes into a plot loosely based on Shakespeare’s Twelfth Night. I had to turn to Wikipedia to read a synopsis of this old comedy, as I couldn’t remember studying that one back in 10th grade. Either way, you don’t have to be a Shakespearean to follow the plot, but it does help if you have a fondness for Elvis, in fact, I think it really is a prerequisite, as there are 26 musical numbers in this show.

I saw this musical at Segerstrom Center for the Arts a few years back, and bought the cast recording in the lobby, so I already fit the requisites. My 13-year-old theater partner is a newbie, but not a stranger to Elvis or Shakespeare, so he was prepared for the fun. We were also happy to hear that 3D Theatricals had upgraded their sound system and padded the orchestra pit, so we would have ample acoustic quality in this venue, which is cursed by design as somewhat of a concrete cavern.
 
You don’t want to miss a note of this show, as this assembled cast is really a talented crew. Director Dawson reunited most of his original cast from the 2010 production performed at their former venue, The OC Pavilion. The Plummer seats a much larger audience: 1,300 seats with varying price-range tickets. At our Sunday showing, in attendance, donning their cast T-shirts was a theatrical group from Brea, who just put on this show, so there was an enthusiastic fan club in the house keeping it lively.

Heading up the cast is Joe Mandragona, starring as Chad, the “Roust-about” who, upon his release from the jailhouse (which he rocked, of course!) lands in a sleepy and stifled town with motorbike problems. He decides to stay awhile and try to liven up the locals with his rock and roll music. Mandragona has had a few years to perfect this part, and successfully exudes the sexy and misunderstood characters Elvis portrayed in his formulaic films of the ’50s.

Natalie, the boyish grease monkey who falls instantly in love with Chad is played by Cassandra Murphy, this remount being her third time around playing the part. She nails it as the love-struck young woman and as her alter ego, “Ed.” Natalie’s secret admirer, the awkward town nerd is wonderfully portrayed by Daniel Dawson, a talented actor with great comedic timing, and one of the three Ds of 3D Theatricals. Chad’s love interest, uptown girl Miss Sandra, is played by Kelli Provart, who channels her inner Ann-Margret and exudes the cinematic-esque sexpot beautifully.  

Amber Snead returns to 3D’s stage as Sylvia, the barkeep in love with mechanic Jim, played by Jamie Snyder. Snead gives us an outstanding performance, belting out the climactic number in the second act, “There’s Always Me,” with her well-trained diva pipes. Other love-struck couples are Lorraine (Angela Wildflower Polk) and Dean (Bobby Perino), who are forbidden to be together by Dean’s prudish mayor of a mother, Matilda, played by Viva Weber and law enforcer Sheriff Earl (Drew Boudreau).

There are lots o’love mixups woven throughout All Shook Up, and they are portrayed appropriately in the syrupy ’50s style that lends so well to the tunes of Elvis. You will recognize them all, and are encouraged to sing or clap or stomp along. Costumes and hair add to the overall look, and congratulations go out to Sharell Martin, Cliff and Kat Senior for the costumes and coifs featured in this production – they really pull off the “Happy Days” hair and attire. Broadway caliber propping and sets are provided by Musical Theatre West, lighting wonderfully designed by Jean-Yves Tessier and sound crafted by Julie Ferrin.

This show has a large, very talented ensemble cast, and at times, the stage is bursting with them all. Brilliantly choreographed by Dana Solimando and Paul Romero, Jr. are Jenn Aedo, Amie Bjorklund, Michael Cavinder, Sean Garner, Maggie Howell, Robert Laos, Chloe Leatherwood, Chester Lockhart, Patrick Lloyd, Isaiah Lucas, Louis Pardo, Afton Quast, Arthur L. Ross, Kalen Sakima, Hannah Simmons, Mia Velez, Ali Vesey, Jon M. Wailin, Carly Wielstein, Shekinah Williams, as well as pit singers David Felder, Lindsay Martin and Jeanette Dawson. Jeanette also plays unwed mother Agnus – Jeanette’s husband, Director Dawson, cleverly worked in his wife’s own pregnancy into the plot. (Congrats to both of them!)

And then there is the infectious music of the King, orchestration crafted by Michael Gibson and Stephen Oremus, and wonderfully conducted by Allen Everman. As mentioned earlier, 3D Theatricals has invested in the sound system at the Plummer, and it is apparent – the house was rocking.

Elvis’s catalog of hits are featured in this show, from “Jailhouse Rock,” “Heartbreak Hotel,” “Don’t Be Cruel” and “Devil In Disguise” to the show’s namesake.

If the use of many of the titles seems cliché, c’mon everybody! It’s all done with silly, laugh-out-loud intention, with an earnest goal to entertain.

All Shook Up passes the jukebox musical test joyfully and with a cast and direction that delivers the King’s message… and that’s all right with me!