There’s something undeniably special about watching a group of young performers throw their whole hearts into a show—and that’s exactly what audiences will experience at The Stage Door’s production of All Shook Up, a jukebox musical full of Elvis-inspired flair, toe-tapping tunes, and just enough romantic mischief to keep things delightfully off-kilter.
Set in a buttoned-up 1950s Midwestern town that’s forgotten how to have fun, All Shook Up is a retelling of Shakespeare’s Twelfth Night and follows the arrival of Chad (Jacob Merrill), a leather-jacketed, guitar-slinging drifter whose love of rock ’n’ roll—and habit of breaking the rules—shakes things up in the best possible way. Merrill deserves special credit—not only for channeling Elvis’s swagger with pelvis-swaying precision (clearly the result of serious practice), but for delivering his role with warmth, charisma, and joy.
Natalie (Riley Imlay), a clever, grease-streaked mechanic with a serious crush on Chad, disguises herself as a boy named “Ed” to get closer to him, setting off a hilariously tangled web of mistaken identities. Chad, in turn, pursues the striking and bookish Miss Sandra (Shantell Boulter), who remains unfazed by his bravado. Meanwhile, Natalie’s shy best friend Dennis (Ammon Ford)—played with earnest heart by an actor who truly leans into Dennis’s awkward charm—secretly pines for her.
On the sidelines but no less compelling, Natalie’s father Jim (Micah Cajilig) rediscovers his own spark for love, while young sweethearts Lorraine (Gwendolyn Scott) and Dean (Jacob Cumming)—son of the disapproving Mayor Matilda Hyde (Jalee Scott)—defy parental expectations to follow their hearts. Lorraine’s mother, Sylvia (Zoe Erickson), all sass and soul, offers wisdom and snappy retorts in equal measure, and even the silent Sheriff Earl (Joshua Scott) shocks the audience in a moment of quiet rebellion.
Director Randy Sly keeps the pacing snappy and the character moments sincere, allowing the young cast to take bold risks and grow into their roles. Music Director Cathy Ford keeps the energy high and the harmonies crisp—no small task with a score packed full of Elvis hits and cross-cutting vocal parts. The mash-up of “Teddy Bear” and “Hound Dog” is a crowd favorite!
The production’s energy gets a major boost from John Graham’s choreography, especially in numbers like “Let Yourself Go,” which turns up the heat with slick moves, ensemble involvement, and a contagious sense of fun. Costume designer Emily Holt also deserves applause—not just for the vibrant vintage looks, but for a particularly delightful quick-change moment during “C’mon Everybody” that transforms the cast’s wardrobe in a flash and brings the dusty jukebox (and the whole town) back to life. That one change signals a turning point in the tone of the show—from sleepy and subdued to foot-stomping, feel-good chaos.
The cast has a lot of young talent, and their youthful energy and enthusiasm is absolutely infectious. From the very first notes of “Jailhouse Rock” to the final bows, it’s clear that this group is having a blast. When performers are having fun, it’s hard not to get swept up in it with them. The ensemble (Becca Gibby, Lelah Scott, Erick Orea, and Tino Smith) work hard to fill out the whole town, play multiple roles, and showcase great dance moves. With Elvis hits powering every twist and turn, All Shook Up becomes more than a love story: it’s a rockin’ reminder of how joy, rebellion, and a little rhythm can shake a town—and its audience—awake.
Adding even more charm and clarity to the storytelling are the thoughtful design elements that shape the world of the show. Scenic designer Joshua Scott’s use of projections offers a delightful tour through the town—from the mechanic’s garage to the local honky-tonk and beyond—anchoring each scene in a clear sense of place without cluttering the stage. The depth and variety of these projected backdrops keep the visual storytelling fresh and engaging while allowing the rest of the set to remain minimal. This sense of atmosphere is beautifully supported by Taylor Nelson’s lighting design, which shifts tone and temperature to match each musical number and emotional beat with care. And behind the scenes, audio engineer Chops Downward keeps the vocals and music balanced and crisp, helping the cast’s voices shine while letting Elvis’s iconic songs carry the energy of the show. Together, these behind-the-scenes artists deserve their own round of applause for creating an immersive world that supports the cast while never overshadowing them.
One unique feature of All Shook Up is how much it benefits from audience energy. This is not a sit-still, nod-politely kind of show. It practically begs for some clapping, laughing, and a few enthusiastic cheers. When the audience leans in, providing boos toward the villain or “oohs” at a dramatic twist, it gives the cast an extra spark. In fact, that feedback loop between audience and performer may be one of the most magical aspects of live theater, and this show has space for that kind of connection.
Among the cast, a few standout performers caught my attention—not necessarily in the largest roles, but with a stage presence and vocal clarity that truly deserve recognition. Micah Cajilig, playing the role of Jim, brought a paternal tenderness and warmth to the part. While he’s clearly far too young in real life to be Natalie’s father, he conveyed fatherly concern and emotional openness with remarkable sincerity. His momentary belt of “One Night with You” revealed a vocal talent that hints at even more to come—he’s an actor to watch, and I’d love to see him in future roles that let him fully unleash his vocal range and character depth. Zoe Erickson, also too-young-to-be-a-parent playing mama Sylvia, delivered a powerhouse performance with soulful vocals throughout the show but especially in “There’s Always Me.” Her voice is confident, expressive, and deeply rooted in the emotion of her character. I hope we get to hear more from her in future productions, as she’s clearly capable of carrying big, show-stopping numbers. Consider both of them official additions to the community theater “watch list”—performers with amazing presence and room to shine even brighter.
All Shook Up is earnest, energetic, and made with love—and that’s something well worth showing up for. With Elvis hits fueling every twist and turn, the show is a vibrant celebration of love in all its unpredictable forms—set to a rockin’ beat that invites the whole town to loosen up, speak their truth, and dance in the street. So bring a friend, loosen up, clap along, and don’t be afraid to let out a cheer or two. These young performers are giving it their all. Let’s meet them with the same.
The Stage Door presents All Shook Up, inspired by and featuring the songs of Elvis Presley, Book by Joe DiPietro.
The Electric Theater, 68 E Tabernacle St, St. George, UT 84770
July 31 – August 16, Thursday-Saturday at 7:30 pm, August 9 at 2 PM
Contact: 435-656-4407
Tickets: $15-24