Review: All Shook Up

Review: All Shook Up | Veritas Productions at the Pace Center | Parker, CO | Curtain Up! | Eric Fitzgerald

Parker Arts’ All Shook Up, presented in partnership with Veritas Productions, bursts onto the stage with irresistible verve, a high‑energy reimagining of Elvis and his story that rides the full power of his music. Under the guidance of director and executive producer Nancy Evans Begley, whose vision is both assured and inventive, and with Trent Hines’ superb musical direction driving the show’s pulse, the production charts the musical awakening of Chad (Matthew Austin Combs) with buoyant charm. From the first downbeat, it’s clear this is a jukebox world built for joy, momentum, and theatrical lift. With a book by Joe DiPietro and the music of Elvis, All Shook Up raises the rafters at the Pace Center in Parker.

In All Shook Up, the quiet Midwestern town is jolted awake when Chad, a leather‑jacketed drifter with a guitar and a talent for shaking up the status quo, rides in and turns life upside down. Natalie (Marisa Dinsmoor), the town’s earnest mechanic, falls hard for him, much to the bewilderment of her father, Jim (George Zamarripa). Meanwhile, Mayor Matilda Hyde (Suzanne Connors Nepi) enforces her strict “no fun” decree even as her son Dean (Zachary Lee Boswell) tumbles headlong for Lorraine (Jessica Czapla), the spirited daughter of Sylvia (Arabella Beaubrun), who runs the local café. Adding to the romantic chaos is Sandra (Shelby Varra), the poised and intellectual museum curator who becomes the unexpected object of Chad’s affections. As Chad’s rock ’n’ roll energy ripples through the community, everyone—from the lovelorn Dennis (Adam Kinney) to the tightly wound Matilda—finds themselves caught in a swirl of mismatched crushes, sudden awakenings, and the liberating joy of music. Think of Shakespeare’s Twelfth Night, and you’ll have a clear idea of the storyline.

First and foremost, Matthew Austin Combs makes a terrific Chad, bringing a rugged, magnetic swagger to the drifter who rolls into town and instantly sends the locals spinning in every direction. His take on the role is confident, playful, and charged with an easy physical charisma that feels entirely right for an Elvis‑infused fable. Combs has perfected the pelvic swivel and thrust, deploying it with comic precision whenever he wants to punch up a line or underscore a moment, and the audience responds every time. It’s a performance built on charm, rhythm, and a knowing wink—exactly the sort of presence that makes Chad the sparkplug of All Shook Up.

Matthew Austin Combs as Chad | Photo credit: RDG Photography

The spark of this production begins with Begley’s keen eye for assembling the ensemble orbiting around Chad, a company whose collective energy gives the show its buoyant lift. Marisa Dinsmoor’s Natalie sings with a luminous clarity that feels tailor‑made for a young woman aching for Chad’s attention, and she grounds the role with an earnestness that never tips into caricature. Adam Kinney, as the quietly smitten Dennis, brings a gentle, lovelorn charm to every moment he’s onstage, offering a steady stream of understated comic grace that keeps the audience leaning in. Arabella Beaubrun’s Sylvia, meanwhile, is a delight from her first entrance—she has the crowd in the palm of her hand, her vocals bursting with a vibrant, soulful punch that lights up every scene she touches.

L to R: Marisa Dinsmoor as Natalie & Matthew Austin Combs as Chad | Photo credit: RDG Photography

Shelby Varra is an absolute delight as Sandra, the museum curator whose cool sophistication makes her a perfect counterbalance to Chad’s combustible charm. She delivers a comedic performance that sizzles with wit and timing, turning every entrance into a small triumph. George Zamarripa is equally well matched to the role of Jim, blending paternal steadiness with the tentative hopefulness of a man opening himself to new love after loss. And as Mayor Matilda, Suzanne Connors Nepi is pitch‑perfect as the tightly wound guardian of propriety, embodying the town’s repressed moral compass with crisp authority and just the right dash of satire.

Young love shines brightest with Dean (Zachary Lee Boswell) and Lorraine (Jessica Czapla), whose chemistry adds a charming layer to the production. Their youthful exuberance brings a buoyant lift to every scene, and their musical interplay has a fresh, sparkling ease that makes their storyline especially endearing. Together, they provide a sweet counterpoint to the show’s larger‑than‑life antics, reminding us that rock ’n’ roll can shake up hearts of every age.

The rest of the cast—and especially the ensemble—propels the production with nonstop vitality. This is a high‑energy group that attacks every number with crisp commitment, fully present from the first beat to the final button. They execute Trent Hines’ musical demands with ease and navigate the often intricate choreography by Piper Lindsay Arpan, with sharp, unified precision. Their collective spirit gives All Shook Up its heartbeat, turning each production number into a burst of theatrical joy.

Nancy Evans Begley’s direction is masterfully shaped, guided by a clear throughline and an infectious sense of theatrical play. She takes this jukebox musical and infuses it with fresh vitality, crafting a production that pulses with delirious musicality and a stage picture that never stops moving. Under her imaginative hand, the Pace Center fills with richly drawn characters and moments that land with both humor and heart. It’s direction that doesn’t simply stage All Shook Up—it animates it, giving the entire evening a buoyant lift.

It’s all about the music, and Trent Hines anchors the musical heartbeat of All Shook Up, serving as both conductor and pianist for the seven‑piece band that performs exuberantly onstage. Joined by Alex Burse (reeds), Arnie Hernandez (woodwinds), Jason Tyler Vaughn (lead guitar), Christina Smith (drums), Lynn Keller (bass), and John Sandusky (trombone), Hines leads a group whose strength and precision are essential to the show’s success. Without their dynamic musicianship, Elvis classics like “Jailhouse Rock,” “Love Me Tender,” and “Hound Dog” would lose their spark—but this band elevates every number, giving the score a vibrant, full‑throttle presence that keeps the Pace Center humming.

Piper Lindsay Arpan’s choreography drives All Shook Up with full‑throttle momentum, infusing the production with movement that feels both purposeful and joyously unrestrained. Her dances don’t just decorate the story—they propel it, stitching transitions together with kinetic flair and giving each number an extra jolt of theatrical electricity. Arpan’s ability to blend character, humor, and rhythm ensures that every step adds to the narrative’s lift, keeping the Pace Center stage in near‑constant, exhilarating motion.

The cast of All Shook Up | Photo credit: RDG Photography

Cole Emarine nearly steals the show with his outstanding costume design, crafting looks that allow every character—ensemble included—to inhabit their world with vivid specificity. His attention to detail is evident in every garment, each choice sharpening personality and story with a kind of quiet magic. Scenic designer Matthew Crane provides a clean, versatile environment that supports the action with ease, giving the performers ample space to play while keeping the focus exactly where it belongs. Brett Maughan deserves special recognition for his lighting and projection design; the vibrant proscenium framing adds a dynamic visual pulse to the stage, enhancing movement and mood throughout. The projections, meanwhile, shift seamlessly from scene to scene, establishing location and atmosphere without ever overwhelming the performers.

And while the old adage insists that Elvis has “left the building,” his spirit is alive and well in this radiant production of All Shook Up. Nancy Evans Begley’s deft, imaginative direction once again proves her gift for shaping musical theater with clarity and flair, giving the evening its irresistible momentum. Matthew Austin Combs delivers a high‑voltage turn as Chad—every pelvic swivel and grind landing with charismatic intensity—and he’s matched by an extraordinary cast that fires on all cylinders. Trent Hines and his onstage band keep the score blazing from start to finish, ensuring the music never loses its spark. All Shook Up is currently lighting up the Pace Center in Parker, and it’s a joyous reminder that Elvis may have departed, but he certainly hasn’t disappeared.

For information and tickets: https://parkerarts.org/event/all-shook-up/