All Shook Up

Since I've posted two Elvis-themed musicals this week, I figured I'd add a third.

All Shook Up didn't bring much new to the table. Twelfth Night has already inspired a rock musical and a jukebox musical. Hairspray handled inter-racial teen dating better two years prior and Broadway critics were tired of jukebox musicals in 2005.

It is refreshing, and still rare, to see a bisexual leading man in a musical comedy. Chad's coming out ballad was played for laughs but the feelings were sincere. Unlike most adaptations his bisexuality didn't vanish when he learned Ed's true identity. The role wasn't great but it launched the career of Cheyenne Jackson. He would go on to better things.

Cry-Baby

Today's art gives a shout out to Archie comics and the kids of Riverdale High.

Cry-Baby is not John Water's most popular film but it had a point of view. The film sent up the movies of Elvis Presley and Johnny Depp's teen idol reputation.

"It’s a parody. Johnny Depp’s screaming girl fans were confused by the movie. They knew we were making fun of something, but they didn’t realize it was them." ~ John Waters

Divorced from this context the Cry-Baby musical was about... capitalizing on the success of the Hairspray musical. While they shared a book writer the inferior score was by Broadway newcomers Schlesinger and Javerbaum. The show received praise for Harriet Harris's arch line readings and Ali Mauzey's demented torch song. I also enjoyed the cynical finale, "Nothing Bad Is Ever Gonna Happen Again." It was an anti "You Can't Stop the Beat." The rest of the show was bland and it closed after 68 performances.

Schlesinger and Javerbaum went on to write the opening number for the 2011 Tony Awards: Broadway's Not Just for Gays Anymore.

Bye Bye Birdie

In 2014 I wrote a post on Bring Back Birdie, the dreadful sequel to Bye Bye Birdie. The sequel had the same writers, star and structure but lightning didn't strike twice.

As I attempted to summarize Bye Bye Birdie I was reminded of what a bizarre show it truly is. The libretto juggles 5 principal characters, 2 key supporting roles, 2 romances and the teens vs. parents conflict. The hip rock star, Conrad Birdie, gets the title but the old-fashioned heart of the story is carried by Rosie and her desire to settle down with Albert.

If Dick Van Dyke wasn't playing him Albert would be a very unpleasant character. That's one reason revivals keep flopping. It was made clear in the sequel when he dumps Rosie for a "newer model." It's better to ignore the sequel and let their story end with Bye Bye Birdie's charming finale.