ABSTRACT
The original production of All Shook Up began at Goodspeed Musicals in Connecticut in 2004, transferring to Chicago later that year, and opening on Broadway in 2005, where it ran for 213 performances before embarking on a national tour of thirty-five cities. By inviting audiences to recognize All Shook Up's status as an adaptation as the musical unfolds itself, rather than announcing itself as one in advance, All Shook Up reveals the queer agency of adaptation, its potential to destabilize categories of identity. Your Own Thing, a 1968 off-Broadway rock musical adaptation, overtly addresses one of the issues raised by Martine Kei Green-Rogers: the significance of the fact that, in contrast to some of the characters, 'the audience knows it's not a homosexual relationship'. In unannounced adaptations like All Shook Up that aim to demonstrate the possibility of social change, it is, of course, extremely valuable that this oscillation is not itself predicated on a resistance to change.
