Blue Suede Shows

Hunka-hunka went flunka-flunka.

That was Broadway, though. This is somewhat-off-Broadway.

Back in 2005, the Elvis Presley-inspired "All Shook Up"-- trying testy critics' patience as another entry in the "jukebox musical" genre reviewers tend to endure rather than enjoy -- shuttered after just six months and a modest 213 performances.

However, the short-run hip-swiveler found it could still grind its pelvis on the regional/school theater circuit. Now it lays a little burnin' love on (Viva) Las Vegas as Signature Productions rocks "All Shook Up" for a nearly monthlong, 20-show run at the Summerlin Library Performing Arts Center.

"The music's incredible, and it pokes fun at the jukebox musical, the '50s and pop icons," says director Steve Huntsman. "It uses Elvis' persona and pokes fun at the genre of movies he made. They were awful, and that carries over into the story, which is campy at times, but a lot of fun. Signature wanted to do something a little outside of their box."

Yet this local production might've been returned to sender. "We had to get special permission to do this because the licensing company restricted it for Vegas because of the 'Viva Elvis' Cirque show, they thought there might be a conflict there," Huntsman says. "They referred us to the Elvis estate to ask permission. We told them we have no affiliation with anything on the Strip, we don't conflict or compete, so then it was OK."

Sifting through the Presley repertoire, "All Shook Up" comes up with 20-plus tunes that crowned the King's career in a story that does not portray Presley per se. In the reverse manner of jukebox musicals -- think "Mamma Mia!" set to ABBA's catalog -- "Shook" constructs a narrative around the Elvis oeuvre, rather than writing the book, then composing a score to advance the plot.

"Shook" is a stage stew of influences, borrowing themes and riffs out of "Footloose," "The Music Man" and Shakespeare's "Twelfth Night," its setup rather simple:

Chad, a motorcycle-riding roustabout (to use Elvis lingo), requiring the services of a mechanic, arrives "in a square little town in the middle of a square state ... in the middle of a square decade." Before you can say hound dog, this hipster is bent on loosening up this buttoned-up burb, while attracting the affections of Natalie, a female grease monkey, as other characters toss in romantic complications that threaten to send them to Heartbreak Hotel.

"The character isn't an Elvis character, but he's rebellious, so it's the idea of what Elvis was," says Adam Michaels, who plays the Presley-ish persona, insisting he won't do an impersonation. However, "I will channel the little nuances, some of the stuff he would do that would make all the girls lose their minds."

Featuring several couples, there's even a social conscience at play, touching on racism and sexual identity. "The story is: Love who you want," Huntsman says. "When love hits you, it's like a ton of bricks, so just roll with it and go."

Tunes? A partial list: "Love Me Tender," "Hound Dog," "Teddy Bear," "That's All Right," "Blue Suede Shoes," "Don't Be Cruel," "A Little Less Conversation," "Devil in Disguise," "Burnin' Love" and the title song.

"What's nice is they do different arrangements, so certain songs will sound similar to how he did it," says Laura Savage, i.e., Natalie. "Others are almost a complete remake, so we're not up there just singing Elvis songs, but they have a purpose for our characters."

Broadway critics played kiss-and-slap. Ben Brantley of The New York Times, while noting that as a "prefab musical," it's "slicker and more skillful than most," also said it "appears to have been assembled by committee according to market research on mainstream tastes." Matthew Murray of Talkingbroadway.com dismissed it as a "flavorless musical martini." But Elyse Sommer of Curtainup.com said it "demonstrates that such musical tributes can be clever and enormous fun."

One reason for its so-so reception in New York, Huntsman says, was the placement of an energetic "Jailhouse Rock" production number that now kicks off the show, but originally was in Act II, where it seemed misplaced, since Chad kick-starts the plot after doing time.

"In my research, that was the biggest problem," Huntsman says. "Originally, they opened with 'Love Me Tender,' which was the lead female character lamenting, and the criticism was that a Broadway show didn't open with a big rousing number. And it's true."

Now, presumably, the jailhouse rocks the right way and hunka-hunka no longer flunka-flunkas.

Lights down. Curtain up. Shhh. A little less conversation, please.

Contact reporter Steve Bornfeld at sbornfeld@ reviewjournal.com or 702-383-0256.