Elvis? Bob Marley? ABBA? Patsy Cline? What our reviewers say about 6 Cape Cod theater shows

What did our reviewers think of shows new to or still on Cape Cod stages this week? Here's a look at a new production of "All Shook Up" at College Light Opera Company and continuing performances of "Always ... Patsy Cline" at Cape Playhouse in Dennis, the "Mamma Mia!" musical at Cape Rep Theatre in Brewster; the regional premiere of "Bob Marley's "Three Little Birds" at Cape Cod Theatre Company/Harwich Junior Theatre; Wellfleet Harbor Actors Theater's "Marry Me a Little"; and Provincetown Theater's "The Lady Hamlet." http://www.collegelightoperacompany.com/

Even more: Musicals, Broadway stars & dark comedy: 14 theater shows on Cape Cod stages + 4 on film

'All Shook Up'

By Sue Mellen

Written by: Joe DiPietro, with music from the Elvis Presley songbook; directed by Caitlin Belcik; presented by College Light Opera Company

What it's about: It’s the middle of the last century (1955 to be exact), somewhere in the rolling cornfields in the middle of the country, and the little town that serves as our setting is desperately in need of shaking up. Fear not, for Chad (Adam Forward) is on his way to do the necessary shaking (both literally and figuratively). Make no mistake, the “roustabout” is Elvis in thin disguise, using swiveling hips, southern-boy charm and an unending supply of jukebox favorites to save the good townsfolk from the dreaded Mamie Eisenhower Decency Act cited by the buttoned-up Mayor Matilda (Sabrina Brush).

See it or not: Go for that jolt of energy only a true song-and-dance show can offer, along with validation that love really does conquer all. Stage director Belcik does the honors as choreographer, too, and the resulting numbers with leads and/or ensemble members make this a dance show in its own right. The numbers are universally slick, energetic and fun.

Highlight of the show: The lead actors and ensemble perform a stunning 26 songs — some more than once — making this a jukebox operetta, and the musical numbers are clearly the show’s highlights. Kaitlyn Jackson (Natalie) and Capri Gordon (Lorraine) have particularly strong deliveries that come through in songs like “One Night With You” (Jackson) and “It’s Now or Never” (Gordon, Teddy Ladley and company). Christie Jean (who plays Sylvia) and Bella Boscoe (Miss Sandra) are effective as well, in numbers like “There’s Always Me” (Jean) and “Let Yourself Go” (Boscoe). And Forward is at the helm in most selections, playing a younger, fresher version of the King of Memphis.

Fun fact: Elvis recorded more than 600 songs in his career.

Worth noting: As Belcik says in the program, “Music becomes its own character early in the show, when it gives everyone in town the freedom to follow their hearts.” She also says the show is inspired by four Shakespearean comedies, giving it the feel of “a delightful journey of romantic yearnings, mismatched partners, deception and disguise.” Whoever thought the work of Presley and the Bard could ever be combined? But then theater never stops being surprising.

One more thing: Next up for CLOC is “Die Fledermaus July 19-23, with “Cinderella on its heels, July 26-30.

If you go: 7:30 p.m. July 12-16, matinees 2 p.m. July 13-14 at Highfield Theatre, 56 Highfield Dr., Falmouth; $40 with a $3.50 online fee, season ticket $375, flexible season ticket $175; 508-548-0668, http://www.collegelightoperacompany.com/.

“Bob Marley’s Three Little Birds”

By Shannon Goheen

Written by: Cedella Marley; music and lyrics by Bob Marley; adapted for the stage by Michael J. Bobbitt and presented by Cape Cod Theatre Company/Harwich Junior Theatre

What it’s about: Eleven-year-old Ziggy (Olivia Thompson) has a crippling fear of stormy weather and a particular hair-snatching Duppy (a Jamaican term for an evil ghost). Ziggy is afraid to leave the safety of her room, her television and her bird friends and for good reason: Duppy wants to take her hair away. Ziggy’s friend Nansi (Ben Cavallo-Smith) convinces her to go out, though, and takes her to the ocean on an adventure that leads to self-discovery and bravery she didn’t know she had. Bob Marley’s songs help to tell the story, with the main theme being that “every little thing is gonna be alright.”

See it or not: This colorful, light-hearted Jamaican romp featuring music and dancing along with folklore is an hour of pure fun. This is a good show for children, particularly considering the pandemic, in that Ziggy leaves her room and discovers a whole new world. It’s a fun-for-all-ages, light-hearted song and dance celebration of Jamaican heritage as told through the music of Bob Marley.

Highlights of the show: The set designed by James P. Byrne and Matt Kohler looks like a crazy quilt and is as comforting as it is representative of the tropics. Thompson and Cavallo-Smith are athletic and fun to watch as they bounce and spin around the stage. Samantha Walker as Cedella, Ziggy’s mom, has an uplifting demeanor and lends credence to the “every little thing is gonna be alright” mantra. Brandon Byrd as Tacoomah has a great time portraying a stuffy British woman and earns laughs with his antics. F.J. Myrie as Baby Bird makes her debut in this show and the other birds – Warren Harrington (Dr. Bird) and Ellie O’Toole (Montego) – add to the fun with their singing and especially O’Toole’s skilled dancing. Cast members do a great job with their Jamaican accents.

Fun fact: This is the regional premiere of “Bob Marley’s Three Little Birds,” which has been performed for the past 10 years around the country. Adapter Bobbitt was in the audience on opening night and led a post-show talkback.

Worth noting: On opening night, choreographer Lisa Canto stepped in to play the evil Duppy, without any previous rehearsals because of an actor’s illness and did a great job. The on-stage band – Jim Sanborn on bass, John Dirac on guitar, Cassie Lortie on drums and musical director Marcia Wytrwal on keyboard – matched the cast well, never drowning out the words.

One more thing: Because of mischief on the part of Duppy, “mangoes” frequently fall from the ceiling, prompting one child in the audience on opening night to ask if the theater could arrange to drop one on his head, too.

If you go: 7 p.m. Wednesdays through Saturdays and 2 p.m. Sundays through July 30 at CCTC/HJT, 105 Division St., West Harwich; $35, $18 for under age 21; capecodtheatrecompany.org or 508-432-2002. Masks were not required as of opening night.

"Always … Patsy Cline”

By Sue Mellen

Written by: Ted Swindley; directed by Paige Price, with music direction by Garrett Taylor, band and vocal orchestrations by August Eriksmoen and Tony Migliore; presented by The Cape Playhouse.

What it's about: This portrait of singer Patsy Cline (Jillian Louis), the darling of the Grand Ole Opry stage, takes place on at least a couple of levels. First, it is a look at the rise of the country singer from Branson, Missouri to the glittering stage of the Opry, eventually occupying the throne at Decca records — that musical empire ruled by the greats of rock and roll in the ‘50s and early ‘60s. And the best thing about this part of the story is that it’s told in music.

Then there is the story of the deep and surprising friendship between Cline and her greatest fan, Louise Seger (Sally Wilfert), who calls her local Texas radio station daily to demand the DJ play one of Cline’s hits. She manages to coax Cline to sit with her and friends at a local venue, and eat bacon and eggs at her kitchen table. And the two eventually begin a correspondence that lasts until Cline’s untimely death at just 30.

See it or not: Go for the music, the knee-slapping fun, and a portrait of a true and enduring friendship.

Highlight of the show: Louis, who has performed on Broadway in “It Shoulda Been You” and Off-Broadway in “Soul Doctor” and “Chick Flick,” belts out an impressive list of 26 Cline favorites. Among the hits: “I Fall to Pieces,” “Crazy,” “Just a Closer Walk With Thee” and “She’s Got You.” Louis’ voice has both the power and sweet twang of Cline’s, and her performance serves as an express ticket back in time.

More stage news: Bob Marley musical launches new era at Harwich theater + 13 more shows on Cape Cod stages

Wilfert also comes to the playhouse by way of Broadway, having appeared in the Tony-Award-winning production of “Assassins,” “The Adventures of Tom Sawyer” and “King David.” She is at once energetic, sexy and fun as she describes “tooling” around city streets in her hot pink car, and demonstrates how a new mini-skirt “fits her like a glove.” And she is just as convincing as the grieving friend who has just heard about Cline’s death.

Fun fact: Cline was a trailblazer for women in country music, being the first to sell records and headline concerts. And in 1973, she posthumously became the first female performer to be inducted into the Country Music Hall of Fame.

Worth noting: The orchestra (led by pianist and conductor Garrett Taylor) provides much more than just background music. Musicians sometimes add their voices to vocal numbers, and Taylor chimes in with comical quips every now and then.

One more thing: Don’t forget your mask – it will be required.

If you go: 8 p.m. July 7, 8, 11, 12 and 15; 2 p.m. and 8 p.m. July 13-14; 4 p.m. and 8 p.m. July 9 and 16. The Cape Playhouse, 820 Main St. (Route 6A), Dennis; tickets: $51-$101; 508-385-3838, www.capeplayhouse.com

“Mamma Mia!”

By Shannon Goheen

Written by: Music and lyrics by Benny Andersson & Björn Ulvaeus and some songs with Stig Anderson; book by Catherine Johnson; directed and choreographed by Dani Davis; presented by Cape Rep Theatre.

What it’s about: A wedding is approaching on a Greek island and bride-to-be Sophie Sheridan (Chelsey Jo Ristaino) conspires to discover the identity of her real father. After finding her mother’s diary with various intriguing entries, she sends invites, unbeknownst to her mother, to three men who may have been her father. They all arrive on the island and cause mayhem by each eventually claiming to be her father and shocking Sophie’s mother, Donna (Trish LaRose) as she encounters the three past lovers. At least 24 songs from the 1970s band ABBA help tell the story that concludes with a heartwarming twist.

Highlight of the show: The choreography is outstanding. It’s high-octane dancing frequently laden with sexual innuendo, and the mostly young acters are well-suited for the near-constant action. Kudos to director/choreographer Dani Davis for envisioning and designing this two-hour shivaree that is so buoyant it’s a struggle to keep one’s mouth shut and not belt out the ABBA hits along with the spirited cast.

Fun fact: ABBA, a Swedish pop band formed in 1972, became one of the best-selling bands in the history of popular music. Written in 1999, “Mamma Mia!” is in the top 10 longest-running Broadway productions and is still running in London’s West End. Save some money and see it at Cape Rep. It’s almost certainly every bit as entertaining!

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Worth noting: Ristaino and LaRose perform the most songs and have terrific voices. Nick Nudler (Sky) occasionally plays his guitar along with the singers, as does Madison Mayer (Lisa), and it adds a lot to the music’s beauty. The ensemble pieces are particularly fun, such as when heads pop out of every door and window on the set during the chorus of “Mamma Mia!” Another great moment is the crazy, campy confusion of wedding preparations set against a duet of “Take a Chance on Me” by Maura Hanlon (Rosie) and Ari Lew (Bill).

One more thing: The shows are on the outdoor stage but the indoor main stage is ready (masks required) with a working set in case of rain. Bug repellant is available, free of charge, but if you are a biting-bug magnet, be sure to cover up. The lift you’ll get from “Mamma Mia!” is worth the effort so don’t hesitate to make your reservations.

If you go: 7 p.m. Tuesdays-Sundays through Aug. 14 at Cape Rep Theatre, 3299 Main St. (north side of Route 6A), Brewster; $40 (group rates and student rush tickets available); or 508-896-1888 or www.caperep.org

“Marry Me a Little”

By Kathi Scrizzi Driscoll

Written by: Music and lyrics by Stephen Sondheim, show conceived and developed by Craig Lucas and Norman René; directed by Christopher Ostrom with musical direction by Kevin Quill; presented by Wellfleet Harbor Actors Theater

What it’s about: Through songs by Sondheim pulled together for one revue, two single people in New York City — alone in their respective apartments on a Saturday night — sing about their thoughts on love and loneliness, their fantasies and their future. The songs are all “trunk songs,” ones cut from final productions of Sondheim musicals, particularly “Follies,” “A Little Night Music” and “Company.”

See it or not: Fans of Sondheim’s work will find this hour-long one-act an intriguing glimpse into lesser-known early songs, and they’re beautifully performed by Brittany Rolfs and Sam Perwin. The plot is thin at best, with the songs reflecting more of a mood and situation rather than a story.

Highlights: With Quill’s superb accompaniment on Sondheim’s always-challenging music, he and Ostrom artfully guide Rolfs and Perwin to create vulnerable, engaging characters through music not initially intended to work together. While the line between reality and fantasy is not always clear, she seems more hopeful, he more cynical as their expressions and delivery reveal their thoughts even when the other is singing solo.

Interesting fact: Ostrom, WHAT’s producing artistic director, chose this show as a tribute to Sondheim following the November death at age 91 of the composer whose decades-long career contributed so much to, and so changed, American musical theater. Sondheim’s shows (music and/or lyrics) include “Sweeney Todd: The Demon Barber of Fleet Street,” “Into the Woods,” “Sunday in the Park with George,” “A Funny Thing Happened on the Way to the Forum,” “West Side Story” and “Gypsy.”

Worth noting: With the absence of dialogue, Ostrom’s scenic design of the two side-by-side New York apartments, backed by a view of neighboring buildings, goes a long way toward establishing location, era and varying personalities of the lonely singles.

One more thing: While some of the song lyrics seem anachronistic to the sight of the singles swiping through possible partners on cell phones, top numbers include the duet “Can That Boy Foxtrot!,” Perwin’s “Uptown, Downtown” and Rolfs' rendition of the beautiful title tune.

If you go: 8 p.m. July 5-9, 12-16, 18-22 at WHAT, 2357 State Highway (Route 6); $25-$40 with discounts for seniors, $15 for students; 508-349-9428, http://www.what.org/  

“The Lady Hamlet”

By Kathi Scrizzi Driscoll

Written by: Sarah Schulman, directed by David Drake, presented by The Provincetown Theater

What it’s about: Miss Margo Staden Burns (Jennifer Van Dyck) is the talented, confident and self-absorbed leader of a struggling 1920 New York City theater company who is breaking ground as a woman playing Shakespeare’s Hamlet on stage. She was inspired by seeing a female Hamlet played by Madame Helene de Montpelier (Kate Levy) in Paris, but now both actresses want to take that famed role to Broadway. When their very different personalities and interpretations collide, sparks fly and they joust both verbally and with swords as their female lovers, a theatrical producer and an actor/waiter try to help sort it all out.

See it or not: This world premiere is a fast-paced, intelligent farce that is reliably funny, thought-provoking and brimming with ideas about how women are perceived (on stage and in the world), what they are allowed to do and who decides, lesbian relationships and societal taboos. Schulman has so many intriguing and provocative things to say in 90 minutes that you almost want to press “pause” to consider many of them more fully — except that would interrupt the sometimes frantic fun that director Drake (the theater’s artistic director) uses to make the delivery of these ideas so entertaining.

Highlights: Buoyed by Carol Sherry’s gorgeous costumes, Ellen Rousseau’s richly detailed multi-use set and Drake’s top-notch direction, each of the six cast members is marvelous on their own and in creating an ensemble that really gels. The center is Van Dyck’s tornado of a performance as Margo, but she meets her match in Levy’s more refined, self-assured and steely Helene and both are swayed by Anne Stott’s insightful Clara, who is discovering herself in her Ophelia portrayal. Laura Scribner adds humor and poignancy as Margo’s co-star/lover Frances; John Shuman is amusingly conniving and greedy as producer Leo Lefkowitz; and Brandon Cordeiro adds hilarity to every scene as an over-admiring co-star of Margo’s who is also a sneaky waiter in the right place at the right time.

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Fun fact: Plays by Schulman, a Guggenheim playwriting fellow, have been produced around the country, but she is also the author of 20 novels and nonfiction books, including her 2021 “Let the Record Show: A Political History of Act Up New York 1987-1993.” The book recently won the 2022 Lambda Literary LGBTQ Nonfiction Award and has been optioned for a television production.

Worth noting: Schulman’s script first came to Provincetown Theater a few years ago as part of a staged-reading series of new work, and Drake has helped to develop the play since. While already supremely topical considering the important recent recognition of a need for more inclusion of women, people of color and LGBTQ+ stories and voices in the theater, many of the lines in “The Lady Hamlet” are even more resonant in light of Friday’s U.S. Supreme Court decision against abortion (with some moments provoking applause on opening night). Lines that have long been true but even more key since last week include: “A theater where women take our full place before the world. What could be more just? We’re radicals far beyond the Suffragists. The right to be seen and heard is more essential than the right to vote for a man who neither sees you nor hears you.”

One more thing: While potentially not necessary, a working knowledge of “Hamlet” would increase enjoyment of “The Lady Hamlet” so you could catch the quick-moving references to characters, scenes, lines and motivations from Shakespeare’s classic and timeless play.

If you go: 7 p.m. Mondays through Thursdays through July 21, with no show July 4 and an extra show Friday, July 8 at Provincetown Theater, 238 Bradford St.; $40; http://www.provincetowntheater.org, https://ci.ovationtix.com/27665

This article originally appeared on Cape Cod Times: Cape Cod theater Elvis, Bob Marley, ABBA, Patsy Cline, Sondheim Hamlet