Veritas Productions brings a high-energy jukebox romp to Parker’s PACE Center, powered by a catalog of Elvis hits.

Welcome back to the era of sock hops, poodle skirts, milkshakes and the birth of rock ‘n’ roll. Loosely based on Shakespeare’s Twelfth Night, All Shook Up is a jukebox musical with a book by Joe DiPietro set to songs made famous by Elvis Presley.

Now playing at the Parker PACE Center and produced by Veritas Productions, the musical follows Chad, a guitar-slinging ladies’ man, who upends the lives of residents of a small, conservative town in the Midwest. He introduces rock music, dirty dancing and a general zest for life that some embrace while others are horrified. Think Footloose with a 1955 soundtrack and you’re there.

A mechanic named Natalie falls for Chad, but he doesn’t return her feelings. So, Natalie hatches a plan to transform into Ed, a fellow cool guy, and befriend Chad, hoping romantic feelings will follow. As she vies for his attention, the town descends into a love triangle (rectangle, pentagon?) that is mostly one-sided.

All this chaos and confusion is amplified by Elvis hits like “Heartbreak Hotel” and “A Little Less Conversation.”

The musical originally premiered on Broadway in 2005, in a relatively short run with no Tony Award wins. However, Cheyenne Jackson, who played Chad, secured the Theatre World Award for Outstanding Broadway Debut.

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A scene from ‘All Shook Up’ at the Parker PACE Center. | Photo: RDGPhotography

A blast from the past

Scenic Designer Matthew Crane creates a stunning ’50s diner set with black-and-white checkered walls covering the second story and staircases running down either side. Aluminum railings cascade down to the stage where a live band sits in a recording studio setting with a teal arch enclosing a wall of records.

Adorable signs like “Hounddog Gasoline” drop down, signifying different locations across town. Sets move in and out at stage level, like shelves displaying shoes at a store and a mechanic shop set-up.

Brett Maughan’s projections behind the set also signify chances of scenery — like rows of jail cells at the start of the production. The show favors blue and purple lighting and shines spotlights on characters as they sing their solos. And when Chad enters the diner for the first time, he touches a previously broken jukebox that bursts to life and lights a huge arch above the stage in red and white.

One of the most fun collaborations is between Crane and costume designer Cole Emarine when the ensemble becomes the artwork in the town’s museum. Some actors stand on podiums in flowing blue fabric like ancient Greek statues while others hold frames around their profiles and don silly sunglasses, hats and fake beards.

Chad arrives on a real motorcycle to aggressive revving sounds, courtesy of sound designer Tanner Kelly. The live band is well-balanced with the cast’s vocals, although Lorraine’s (Jessica Czapla) voice is often overpowered. Music Director Trent Hines guides an engaging band that adds to the bursting energy of the production.

Matthew Austin Combs as Chad, center. | Photo: RDGPhotography

A hilarious and versatile cast

Director Nancy Evans Begley develops a multifaceted cast with clear objectives and growth. Marisa Dinsmoor shines as Natalie, an independent woman who gets lost in the dizzying feelings of a crush but finds her way back to herself and what she wants. She excels as alter ego Ed, creating memorable moments brushing on a faux beard with motor oil from her workshop and accidentally enchanting the wrong person.

As Chad, Matthew Austin Combs leans into his mysterious troubadour persona. He bewitches everyone — in one instance, causing men and women alike to faint at the sway of his hips. Combs captures Chad’s initial surface level obsession with women and growth to understanding the value of true connection.

Many scenes take place in a diner run by a fiery woman named Sylvia, played by Arabella Beaubrun. She’s a no-nonsense lady with great advice, a sweet love-story arc and a deeply rich alto voice.

Shelby Varra is fantastic as Sandra, a new-to-town caretaker of the local museum. She sees right through Chad’s ridiculous bravado and hilariously evades his advances.

Varra grasps the regret of moving to a small town and quickly realizing that it’s not the right place for you. She draws out bursting laughter from the audience when she quips, “This town makes me miss Pueblo.”

Varra’s voice is stunning, and she has the raw, unbothered energy that would make her a wonderful Heather Chandler in Heathers: The Musical.

It’s hard to not want to hug Adam Kinney’s Dennis, who is desperately in love with his best friend Natalie. He illuminates the struggle of crushing on a friend who will never see you that way and captivates the audience with his kind heart.

Czapla’s Lorraine and Zachary Lee Boswell’s Dean capture the adorable contentment of a first love. They portray the awkwardness of being teenagers who like each other while finding their footing to fight for their relationship.

The ensemble delivers impressively tight harmonies and carries out a variety of dance breaks choreographed by Piper Lindsay Arpan, including some cast members launching into splits and fouettés. The choreography is a fun mix of popular era-appropriate solo and partner dance styles, like the Twist and swing dancing. Not all of the actors are consistently in sync, but they are passionate.

The sappy jokes and perfect payoff

The musical is also packed with corny, comedic moments — like when people fall for each other and break into “One Night With You” as the rest of the world stops.

The show’s running joke is when uptight Mayor Matilda (Suzanne Connors Nepi) brings Sheriff Earl (Jim Honiotes) with her to enforce the town’s laws against public necking, tight pants and loud music. She continuously interrupts him before he can get a word in until it’s the perfect time for him to unleash his truth.

Sharp-dressed cast

Emarine expertly captures the era and essence of the characters with his wardrobe choices. Chad wears a douchey combination of tight jeans rolled at the ankle paired with a black leather jacket. Natalie dons dark blue coveralls until she decides to doll up for Chad and pulls out the dress she previously used as a rag (which has a huge oil stain on it).

One of the best costuming decisions is when the cast wears shimmering blue character heels and loafers for “Blue Suede Shoes.” They dazzle under the stage lights and are a beautiful literal nod to the song.

The production drags a little at the end, but it’s due to the writing, not the talent. Veritas Productions’ All Shook Up is a rousing and comedic Shakespeare retelling with recognizable songs, powerful vocals and entertaining choreography.