What do you get when you cross a classic Shakespearean romance with an old Elvis Presley movie? The answer is ‘All Shook Up”—the hit musical that just opened at the historic “Gem Theater” (—which this year is celebrating its centennial anniversary in Garden Grove California.)

The latest offering from the award-winning gang at “One More Productions”, the story is inspired by William Shakespeare’s “Twelfth Night” and combines an imaginative book by Joe DiPietro with the songs of Elvis Presley (by numerous composers and lyricists) resulting in a score teaming with some of “The King’s” most beloved classics. Just don’t be surprised if you find audience members (yourself included) singing along to such old favorites as “Don’t Be Cruel”, “Hound Dog”, “Love Me Tender” or “Burning Love”. This new production is directed by OMP Co-Founder Damien Lorton (who also serves as Musical Director,) with plenty of shakin’, rattlin’, and rollin’ gratis choreography by Alan Collins, Brittany Rose Dawson, Heather Holt Smith, Angela Mattern and Nikki Snelson.

This is a different kind of musical that presents one iconic hit after another. DiPietro’s sharp-witted libretto is sprinkled with a treasure-trove of 1950’s gags and puns, that are bound to raise a few smiles among those who remember those ‘good ol’ days”, while informing and enhancing a story that’s at turns, comical and outrageous– but always just this side of off-beat enough to work. Director Lorton has once again pulled together an A-Plus cast of gold-medal worthy dancers and singers, and his overall approach plays well into the strengths of the story (and everyone’s familiarity with it.) This enables the action—both the broad, boisterous sort and those quieter and more introspective, to unfold at a steady, measured, but definite pace. (As with anything based on “The Bard’s” works, there’s a bit to digest in a relatively short time and “All Shook Up” is no exception.) Likewise, with a bevy of FIVE separate choreographers, you can bet the genres of movement seen represent a wide variety (and you’d be right!) From the ‘Be-bob’ to “The Rock-A-Billy Boogie”, each intermezzo has been peppered with snippets of all those terrific ‘fad’ dances that made the 50’s and ‘60’s so unique.  Most favor free-style and ‘swing’ based steps–and a few that just might surprise you. This includes the “Blue Suede Shoes” number which has been fashioned as a nifty tap dance. Boasting some pretty snazzy maneuvers, this may very well be the choreographic highlight of the entire show. (These “Blue Suede Shoes” may not be for stepping on, but they sure are for some fancy stepping in!)

A rocking, rolling, and rollicking tale about living large, falling in love, and the sheer power of music, “All Shook Up” is ‘all played’ for laughs—immense ones. A prologue set to the infamous and infectious, “Jailhouse Rock” launches the proceedings, enlivened by some jumpy-jivey choreography that’s also seasoned with loads of cracker-jack acrobatics. Immediately after, the scene changes to a small, sleepy Midwestern province dubbed ‘The most depressing town on earth” (–which could make “Mayberry R.F.D.” look like Vegas!) There we quickly learn that all this is due to it being under the sinister and relentless influence of “The Mamie Eisenhower Decency Act”. A district ordinance passed by the Mayoress, “Matilda Hyde”. This strictly prohibits necking or making out in public, tight pants, loud music, and generally, having any fun ever. (It’s a lot like the oppressive municipality in “Footloose” only set thirty years earlier.) Soon, this never-named jerk-water borough is thrown into a frenzy with the arrival of “Chad”, a good-looking, motorcycle-riding, guitar playing, ‘rovin’ roustabout’, straight out of that forementioned “Jailhouse”, “with a song in his soul and a love for the ladies”. (He also rides from place to place with blue-suede shoes on his feet, a leather-jacket on his back and jiggly-wiggly gyrations in his hips!) The initial ‘big’ group endeavor that introduces us to most of the local inhabitants we’ll come to know, is “Heart Break Hotel” which, in addition to more rip-roaring choreography, also occasions some awesome choral work to boot. “It’s just the influence of this music!” ‘The Honorable Miss Hyde’ retorts of the sudden wave of ‘high-spiritedness’ that seems to develop with “Chad’s” sudden arrival (–and on a motorcycle yet!)

The plot doesn’t markedly start to resemble the legendary Playwright’s source material until shortly before intermission when “Natalie”—a pretty girl-mechanic who’s completely enraptured by this dashing stranger, goes ‘undercover’ in male-‘drag’ as “Ed”, in an attempt to get closer to him and hoping to become his new ‘sidekick’ (ostensibly to determine what attracts him to a woman so she may better reflect that.)

Then again, under “Chad’s” influence they all begin to come alive once more, and when everybody retires to the fairgrounds (or as “Matilda” calls it: “The Epicenter Of Indecency”,) clandestine lovers meet, pursue, (and maybe more,) all in one zany night that will change the submissive citizenry forever. The first act ends with the entire cast singing “I Can’t Help Falling In Love With You” with an exhilarating energy, thus creating an optimistic–even jovial mood just prior to intermission. Subsequently, the second act is the time many of the supporting characters seriously come into their own (often with their own songs to go along with it!)  It opens with a rousing group version of the show’s namesake number, also infused with a plethora of flashy Sock-Hoppin’, Be-Boppin’ moves making this a brilliant group undertaking and the perfect way to launch the show’s latter portion. Regardless of whether the finale suggests our heroes might live (more accurately put) ‘Happily Eventually After’, it remains promising enough for the most jaded among us to take heart.

At the hub of all the action is Hayden Magnum, who gives nothing less than a tour-de-force performance as “Chad”. Magnum does a solid Elvis impersonation—and he even accompanies himself on a really cool six-string (the one that’s frequently slung across his back.) Once the houselights dim, he shifts the goings-on into high gear right away with “Jailhouse Rock”, which he swiftly follows up with another upbeat number: “C’mon Everybody (And My Baby Loves Me)”, imbuing the song with excitement and enthusiasm, making it a highlight of the show’s first half. Later, he also excels leading the opening verses of the titular “All Shook Up”. Joining him as our Heroine “Natalie Haller”, Giovanna Martinez once again shines on “The Gem” stage.  As she’s demonstrated before, Ms. Martinez has a dynamic voice to match her considerable charm and charisma, but it’s never been showcased quite as effectively as it is with these songs.  She especially amazes with “One Night With You’—her riveting solo early on. As a couple, Magnum and Martinez share two clear-cut knock-out duets: the unforgettable “Blue Suede Shoes” and “Follow That Dream”.

Matthew Rangel too, does a remarkable job as the hapless ‘Dennis”—a nerdy, but completely likeable ‘beta male’ who is hopelessly in love with “Natalie” (Trouble is, she barely knows he exists and even then, only as a friend.) He gives a commendable—not to mention poignant–interpretation of ‘Can’t Help Falling In Love With You’, affirming (as if it were needed) his substantial vocal skills and emotional range. Rangel also impresses with his rendition of ‘It Hurts Me’, the second act ballad that further reveals the lad’s inner turmoil. With Ms. Martinez as the frustrated ‘object of his affection’, they share the touching “Love Me Tender”. In the role of “Miss Sandra”–the resident Blonde Bombshell also new to the area, (think “Marilyn Monroe” stuck in the boondocks,) Mary Desmond bumps, grinds and amazes in all the best places–—but don’t write her off as merely another ditzy ‘party girl’ though, she runs the seldom-patronized civic Art Museum. Originally the gal our boy Chad ‘thinks’ he wants, she is aloof to his advances, preferring instead a man with a tad more culture (something decidedly in short supply in this vicinity.) This leads to their impassioned ‘counter obbligato’ duet, “You Ain’t Nuthin’ But A Hound Dog”/“Let Me Be Your Teddy Bear”. (Not long after, Ms. Desmond also delivers a few fine phrases as part of “All Shook Up”.) Unforgettable in her own right is Cassidy Love as “Natalie’s” BFF, “Lorraine”. Ms. Love has a crisp clarion voice which she puts to great use with her parts in ‘Heartbreak Hotel’, “That’s Alright” and “If I Can Dream”. In fact, alongside Aaron Gibbs as “Dean Hyde”—the ‘Mayoress’s’ military-schooled (but still underconfident) son, the two pretty much carry the show’s genial little subplot also involving ‘forbidden’ romance (adding a touch of “Romeo & Juliet” to “Twelfth Night”!) Their shared chanson “It’s Now Or Never” (as the pair conspire to run off together to leave this ‘town without pity’ far behind them,) is one of the most enjoyable in the production.

Also making his own irrepressible mark is Wyatt Buckle as “Jim Haller”—”Natalie’s” devoted dad who continues pining for his deceased wife (and Natalie’s mother.) Buckle himself has a sublime voice, and while it’s parceled out in smaller moments now and again, it nonetheless confers a creditable contribution to whatever numbers “Jim” is involved in. This means he’s more effective as an actor whose story line doesn’t essentially come into its own until (as often happens in stories like these) he finally wakes up to the attentions of “Sylvia”, superbly played by Emily Guerrero. Ms. Guerrero’s most genuinely pleasant (and potent) interlude comes with her superbly sung “There’s Always Me”, as this hard-bitten Café/Honky-Tonk owner lets her defenses down and (at least to herself) at last acknowledges her attraction to “Jim”. Nickie Gentry also furnishes numerous comedic episodes as “Mayoress Matilda Hyde”, but none so unabashedly sidesplitting as her turn during “Devil In Disguise” (“He looks like an Angel, talks like an Angel, walks like an Angel—but I got wise! He’s the Devil in disguise,” she seethes over “Chad’s” ‘disruptive’ presence in her community.) Staged as a religious revival with the backing of the female chorus, count this one THE crowd-pleaser of Act Two!

The set, courtesy of “Mendenhall Productions”, is probably the best OMP has featured in several seasons —look closely and you’ll notice it actually appears to be the interior of a giant Jukebox—complete with raised circular turntable in the middle. Meanwhile, the on-stage ten-member band, led by Conductor Nick Bravo, is situated just upstage where, before the proceedings get underway, they treat the audience to a series of vintage Elvis hits (naturally.) In a like manner, Lighting Designer Jon Hyrkas has ensured the show is striking and dramatically colorful, thanks to his vibrant lighting strategy. Chief among these are how he bathes the various numbers in crisp hues like spicy reds, sultry greens, and hot pinks—or the alluring turquoise “Lorraine” and “Dean” are swathed in amid their duet, “It’s Now Or Never”. Indeed, it’s like his illumination is subtly ‘commenting on’ or augmenting the sentiments being expressed in the songs. Notable as well is Costume Designer Kari Setlak’s pastiche of meticulously on-target 1950’s attire–from the prim ‘sensible’ Ladies wear sported by ‘Heronner’, the “Mayor”, to the ‘scandalously daring’ red dress “Miss Sandra” doesn’t just wear—she incandesces in (Proof positive red truly IS her color!) What’s more, men’s Bowling Shirts, Dungarees and Penny-Loafers seem to be spotted in abundance amongst the male members of the cast. Not to be overlooked either are “Chad’s” emblematic “Blue Suede Shoes” and trademark “Black Leather Jacket” (—an item “Wyatt” co-opts when he’s trying to get “Miss Sylvia” to see him in a whole new, younger, hipper, light.)

  Yes Siree Bob–there’s a whole lotta shaking goin’ on at “The Gem Theatre” and now is the time to be a part of it! Having opened on Saturday, June 3^rd , “All Shook Up” is slated to play through July 9^th, 2023 at “The Gem Theatre”, located at 12852 Main Street, in Garden Grove, CA. Showtimes are Thursdays, Fridays & Saturdays at 8:00 PM, with Sunday Matinees at 2:00 PM. Special discounts are available for Seniors (65+) and Kids (12 and under), while “Student Rush” tickets are also available for Thursday and Friday performances (one ticket per valid Student ID.) For more information or to purchase tickets, call One More Productions at (714) 741-9550, or visit their website at www.theGEMoc.com.

Production Photos by Ron Lyon www.ronlyonphoto.com Courtesy of “One More Productions” www.theGEMoc.com ; Special Thanks to Damien Lorton, Nicole Cassesso, Dan Baird, Shoko Araki, Ron Lyon Nick Bravo, Alan Collins, Brittany Rose Dawson, Heather Holt Smith, Angela Mattern, Nikki Snelson and to the cast and crew of “One More Productions” 2023 Production of  “All Shook Up” for making this story possible.