Side-Splitting Shucking and Jiving Abounds at Broadway's Most Cornmazing Musical Comedy

      Corn. Yes, I said and I’m talking corn, as that’s what the hit comedy Shucked that has just planted itself here in the Midwest is chock full of in every sense. Direct from its acclaimed Broadway run, this musical enraptures audiences with the story of what happens to the unspoiled slice of Americana that is Cob County upon facing its first-ever crisis when their corn inexplicably starts perishing; and heroine Maizy decides to be the first to leave the provincial paradise in search of a way to save the vegetation. The shenanigans and fallout that ensue supply ample amusement and inspire as much growth in Maizy, her cousin Lulu, Beau and his brother Peanut, and all the rest of the Cob County crew as it does the corn crop and the theatergoers’ whose lives this “barn yarn” touches. It may be a superior horse sense of humor, it may be fearlessness in creating something so distinct from what commercial theatre has traditionally churned, it may be the love so obviously sprouting out from every acre of this production, but Shucked is one of the freshest musical comedies ever produced. It is plain that the earnestness with which this production is cultivated and executed harvests itself in resounding “shuck-cess.” 

     Jack O’Brien’s zealous vision for this production leans into the camp and allows it to achieve being down-homey and cosmopolitan all at once. It was also apparent the very intentional ethnic conscious (albeit the fact the show’s representation seems to stop on stage as there is not a single swing of color amongst the players for a show that spotlights Black and #BIPOC characters). The book by Tony Award-winner Robert Horn is one of the cleverest musical comedies seen in some time with a consistent torrent of Grade-A punch lines and kernels of wisdom. The “Music City”-based songwriting duo of Brandy Clark and Shane McAnally have crafted one of the most authentic, inventive and cohesive musical scores ever. Although it is a bit jarring, the rousing “We Love Jesus” has been swapped for the new more backstory-laden and sensical “Ballad of the Rocks,” the music composed for this production remains one of its greatest highlights. Despite the fact it has had to be modified in some instances to be more transferable (most notably in the “Best Man” number that included some very challenging dance), the “cornography” imagined by Sarah O’Gleby is as impressive as it was during the New York City run with the attentive details and homages to other iconic dances (including Charlie Chaplin’s “Bread Roll Dance” from The Gold Rush and The Rockettes’ infamous kick line). Inspired projections on scrims working en tandem with the very straightforward, wood-based structure of Scott Pask’s scenic design and Japhy Weideman’s lighting as bright as a golden meadow haze immerse in the show’s warm rural world. The fashion of shabby chic patched denim designed by Tilly Grimes is simultaneously rustic and refined, fitting the characters and play’s tone like the most well worn Levi’s (one standout outfit being Lulu’s tailored denim jumpsuit). Every facet of the production exceeds and convenes to serve this heartwarming self-proclaimed “farm to fable.” 

     Yet, it is the cream of the crop cast that propels and is the greatest reason to see this production. Maya Lagerstam is resplendent, buttery perfection as “Storyteller #1” and TikTok personality Tyler Joseph Ellis proves with every silly stunt his casting as “Storyteller #2” is not one and that he is meant for this role. I think that Mike Nappi sticks to you and proves the goofiest goober with his stupendous “Peanut,” and that’s the thought that really counts. Erick Pinnick is endearing as he brings all of himself and his Blackness, charm and quiet strength to the part of “Grandpa.” Although she at times sounds eerily similar to Caroline Innerbichler on the Original Broadway Cast Recording, Danielle Wade comes into her own and commands with her practical, sophisticated and brazen Maizy. Jake Odmark is a dang good Beau you definitely want to see and whose interpretation of Maizy’s love interest will have all your dogs fed, hay bailed and crops getting yield. Quinn VanAntwerp’s polished Gordy demonstrates he is a rare gem long before his stone-moving schemes and an absolute pro at his con artistry. Miki Abraham may have the toughest row to hoe following in and on the heels of Alex Newell who won a Tony Award for originating the role on Broadway, but they independently all but steal the show with their bodacious Lulu as potent and smooth as the highest-proof moonshine whisky. Every single member of this ensemble, from Zakiya Baptiste, Cecily Dionne Davis and Chicago’s own Chani Werely to swings Kyle Sherman and Sean Casey Flanagan, is evidently utterly committed to and deeply invested in this wonderful piece; and exhibits phenomenal chemistry. The great stock of talent that is the actors inspiriting Cob County on this national tour are unequivocally true hard core corn stars. 

     As Beau astutely observes, there is a difference between simple and stupid - and Shucked evidences this tenfold. The brilliance in the genuineness and straight to the grain simplicity is what makes this once in a blue moon artistic display so special. Replete with classic musical callbacks and easter eggs (see if you can spot the Oklahoma! and The Music Man references), much more than two good virtues, sensational plot twists and side-splitting humor, this production is a pure masterclass in how musical comedy should be approached and has something for all to enjoy. The breath of fresh air this initially unassuming show provides with all its hilarity and sincerity is enchanting. Honest and true, there is no silkier and huskier artistic offering than this; and this corn dyin’ might just be one of the best things to ever happen to you. It’s going across the country, but it’s darn tootin’ not just some country show. God willing and the creek don’t rise, ensure that you catch this uproarious corn-based comedy before it starts singing its travelin’ song and jumps back on the road towards somewhere north of south or south of north. Despite it being marketed for ages 10+, you may want to carefully consider toting any young bucks along with you as this is definitely not “kiddie corn” and more of a PG-13-ish experience. You can go shuck yourself now through January 19^th at Broadway in Chicago’s CBIC Theatre.