Take a quart of Elvis, two pints of Shakespeare, one guitar, a rack of blue suede shoes, and a dozen high-stepping dancers, shake them all together and you get the musical that just opened on the stage of Hope Summer Rep’s Dewitt Theatre.

“All Shook Up” is more than just a jukebox melody in the hands of director David Colacci. It is a comedy worthy of Shakespeare, with production values worthy of Broadway. From the moment music director Fred Tessler’s musicians strike up the first note of “Jailhouse Rock” to the final steps of the encore dance “C’mon Everybody,” every second is finely polished, highly produced and exuberant in its celebration of the songs of Elvis Presley and the way that fools fall in love.

Scenic designer Kristin Ellert lets the audience know they are in for something special from the moment they walk into the theater. Everything is pure ’50s, with blinking neon signs, the swooping jet-shaped counters reminiscent of the Boulevard of Broken Dreams.

Then Joseph Bigelow’s Chad takes center stage with an ensemble that dances as if their feet were on fire. Every number is big, and the 10 members of the ensemble surround the 10 named characters as they weave a complicated tale of lovers that makes the plots of “Twelfth Night” and “As You Like It” look simple.

The nerdish Dennis (Michael Williams) is in love with grease monkey Natalie (Grace Stockdale), who has fallen head over heels for Chad, who is in love with the snobbish art gallery curator Miss Sandra (Allison Morse). Meanwhile Dean (Michael Hanna), the stifled son of the uptight, self-appointed moral compass of the city, Mayor Matilda (Anita “Jo” Lenhart), falls in forbidden love with young Lorraine (Olivia Puckett). Meanwhile Lorraine’s mom, Silvia (Sierra White), is the owner of the local diner and tries to comfort widower Jim (Chip Duford), Natalie’s dad and the owner of the local gas station and garage.

Then throw in women disguised as men, mis-delivered sonnets, people falling in and out of love with all the wrong people, and Sheriff Earl (Joseph Byrd) who speaks more with his finger than with his tongue, and you have the foundation for the musical that never stops moving and is populated with laughs, costume changes and more than two dozen Elvis standards.

Joe Dipietro’s book weaves the story so tightly that it makes it seem such songs as “Hound Dog,” “Roustabout,” “It’s Now or Never” and “Blue Suede Shoes” were written just for this musical.

Choreographer Brad Landers turns this show into a dance showpiece that constantly fills the large DeWitt Theatre stage. He has people tap dancing on tables, shaking their pelvises, hand jiving and generally shaking down the stage with swirls, glides and acrobatic moves.

But while the musical is filled with showy spectacle, it works best because the actors are telling a love story, one that invites everyone to live with a little more passion than they did the day before.

Stockdale’s Natalie is the delight of the show, a female mechanic with a close-cropped hairstyle stuck in an era of poodle skirts and ponytails. Like Viola in “Twelfth Night,” she finds herself hopelessly in love with a man who sends her to woo his unattainable heart throb. Stockdale makes every choice genuine, creating a very believable young woman who grows and changes throughout the course of a crazy summer day.

Bigelow is the Elvis-clone, a roustabout who excites the women and is unmoved by the fainting femme fatales who throw themselves at him. He moves with a coolness reminiscent of the Fonz and James Dean combined. Like Stockdale, he doesn’t rely on stereotype, but instead reveals unexpected layers to the boy with a song in his heart and a motorcycle as his transport.

Puckett brings a lovely sweetness and young innocence as the 16-year-old discovering forbidden love for the first time, even while acknowledging that her role models of “Romeo and Juliet” didn’t exactly achieve a happily ever after. Her duet “Now or Never” with Hanna is heartbreaking and exhilarating in turn, as the two struggle with what they “should” do and what their hearts tell them to do.

Some of the brilliance in “All Shook Up” is the way the love stories cross generations. It is not merely the blush of first love, but the rediscovery of it by those who had long given up hope that it could still stroke the fires of their loins.

Without giving away the ending, it completes the tribute to Shakespeare with a scene that could come straight out of one of his comedies. With its bows to the King of Rock ‘n’ Roll and the Master of English Literature, “All Shook Up” is a fun evening that is uplifting and a fitting tribute to that which is great in both pop music and musical theater.