REVIEW: All Shook Up - Phoenix Ensemble

Elvis Presley may have left the building decades ago, but he was alive and well at Phoenix Ensemble’s All Shook Up, a jukebox musical inspired by Shakespeare’s Twelfth Night. This musical drops us in a small midwestern town stifled by its conservative mayor, until the arrival of Chad… a leather-jacketed, motorcycle-riding roustabout who shakes things up with his blue suede shoes, a guitar, and a wake-up call of rock’n’roll rebellion. Cue love triangles (and squares and hexagons), mistaken identities, and belting out the King's greatest hits at every opportunity.

From the very first number, 'Jailhouse Rock', the cast burst onto the stage with such energy that it literally brought the show to a stop. A mid-scene technical hiccup forced a pause, but the ensemble handled it with such professionalism it barely felt like a disruption. And honestly? It gave the cast a chance to catch their breath before diving back in to the vigorous choreography.

Dugald Lowis embodied Chad with irresistible swagger and charm. Rather than leaning on an Elvis impersonation, Dugald created their own comic groove, complete with a perfect “oblivious dumb guy” voice that landed every laugh. Chad is a role that demands confidence above all else, and Dugald radiated it from the moment they stepped on stage.

Matching them beat for beat was Anna Ryan as Natalie, the grease-stained mechanic who disguises herself as Ed to get closer to Chad. Her wide-eyed, love-at-first-sight 'One Night With You' was adorable, her transformation in 'Love Me Tender' (complete with key changes lowered into “man mode”) was brilliant, and her 'A Little Less Conversation' was the kind of number that would definitely leave the audience sexually confused. Her big solo 'Fools Fall in Love' confirmed her as a vocal standout, while her comic instincts shone in some of the funniest background business of the night. Sorry to the director sitting in front of me, because I could NOT stop cackling at Anna’s facial expressions as Ed!

The supporting cast added layer upon layer of humour and heart. Genevieve Tree as Sylvia was my spirit animal: the perpetually single gal who masked her vulnerability with sharp sarcasm. Gen combined the "crazy mum" comedy with her soaring, soulful voice in the ballad 'There’s Always Me'; a breathtaking highlight that showed off her endless ability to sustain.

Grace Clarke’s Miss Sandra looked as though she had stepped straight out of a portal to the 1950s, nailing 'Hound Dog' with diva-like glamour. Hannah Paul captured the wide-eyed innocence of sixteen-year-old Lorraine beautifully. Her powerhouse vocals and cute chemistry with Joshua Bird’s sweet-voiced Dean made their duet 'That’s All Right' sparkle. Toby Redwood’s Dennis was the goofy but loveable sidekick, while Caleb Holman was endearing as Jim, Natalie’s widowed and awkward father whose cluelessness made him instantly likeable.

Constanza Acevedo Burckhardt was hilarity personified as Mayor Matilda. Tiny but mighty, Connie stormed the stage in a gospel-flavoured 'Devil in Disguise', declaring that “evil is always attractive” and Chad proving it with a wicked grin. She paired brilliantly with Clayton Eltis as Sheriff Earl, whose silent, all-face acting proved that sometimes no lines at all can be the funniest moments.

The ensemble worked tirelessly to keep the show buzzing with stamina, energy and personality. Michael Enright and Kelsey Todd’s expressive faces made them impossible not to watch, while Jackson Poole, Mikey Searle, and Hannah Paul brought extra punch to Jamie O’Donoghue’s high-energy choreography, particularly in 'C’mon Everybody'. A reminder to the dancers to keep your eyes up rather than down, because your joy is best shared with the audience, not the floor...

Being a jukebox musical, the songs really are the driving force, and music director Rae Rose’s work was fantastic. 'Heartbreak Hotel' had spine-tingling group vocals, while 'Can’t Help Falling in Love' unfolded into a gorgeous patchwork of unrequited love. But the crowning moment came with 'If I Can Dream', staged with the cast lined up in rainbow-colour; a beautiful visual statement of their unity. Jamie O’Donoghue’s choreography hit just the right mix of nostalgic 50s/60s dance and theatricality. 'Blue Suede Shoes' was a crowd favourite with sharp ensemble moves (and props to the costume team for those endless pairs of blue shoes!).

Design and direction tied it all together. Ruby Thompson's direction kept the pace snappy, balancing the over-dramatics of instant love with the sincere connections. The show was brimming with delightful surprises, like the cleverly staged bus prop and bike chase during 'It’s Now or Never'. Ruby's eye for detail also made the background tableaus a comedy treasure trove, rewarding anyone who looked beyond the main action. Ruby's diner set, with pastel walls, a jukebox, and a black-and-white checkered floor, was pure retro charm. Lachlan Hall’s colourful quick-change costumes and fabulous hairdos sealed the aesthetic, with a wink of cheeky modernity through the Converse sneakers. Maddy Bosando’s lighting and Luke O’Hagan’s sound added a final layer of polish, particularly in constantly-appearing song 'One Night With You'.

This was the kind of production that reminded me why community theatre is so special: true joy created on stage, and joy mirrored right back from the audience. The satire of Shakespeare’s Twelfth Night (or She's the Man anyone?) gleefully winked through as lovers tumbled in and out of infatuation at lightning speed and disguises fooled everyone but the audience. By the time the company launched into the finale, 'Burning Love', the theatre was buzzing with laughter and applause. Yes, the plot was Shakespearean nonsense dressed in blue suede, but that was exactly the point. Phoenix Ensemble’s All Shook Up leaned into its own absurdity with open arms, delivering heart, humour, and some of the most-beloved songs in history, proving that Elvis really did have a song for every scenario life can throw at you.

Photography: By Brit Creative, Creative Street, Stageshots