Shucked

Photo Credit: Mirvish Productions

Filled with crackling jokes that bounce like corn kernels in the microwave, Shucked pops onto the Princess of Wales stage with humour, warmth, and irresistible charm. Written by Robert Horn, and brought to life by American country music composers Brandy Clark and Shane McAnally, Shucked takes place in Cob County, a fictional secluded Midwestern town famously known for its abundance of corn. However, when the once-fortuitous corn crop begins to wither, the naive Maisy ventures beyond Cob County for a remedy to save her town.

As a comedic musical, Shucked cultivates its sense of humour through its cohesive ensemble choreography, accessible and creative attire, and perceptive blocking choices. While the performance falters at times due to some underdeveloped emotional expressions and distracting scenic designs, the final result is still a heartwarming show that is sure to delight all audiences.

Choreographer Shara O’Gleby undoubtedly had a true understanding of how close to heart these characters were. During the ensemble moments, the cast’s choreography portrayed connection through their gazes to each other and synchronized moments of breath. The visual unity within Cob County made Maizy’s wretched decision to leave for a cure feel all the more weighty. Moreover, the cast genuinely embodied the soul of Cob County through their synchronized dance with two corns in hand. Their articulate arm movements portrayed clean lines while their facial expression conveyed both humour and pride, highlighting their community spirit through the fluency of their habitual movements.

Next, costume designer Tilly Grimes embellished the cast in rustic country-style denim attire, visually illustrating the rural and down-to-earth lifestyle of Cob County. One aspect that really stood out was how many props the costumes could effectively conceal. During Maizy and Beau’s wedding, everyone pulled a bible from their pockets in a smooth and swift move. Even more impressively, two full-sized cobs of corn were tucked into the actors’ pockets and pulled out during the ensemble moments. The costume concealed these props so seamlessly and accessible that I didn’t even notice them until they were revealed, a testament to Grimes’ meticulous craftsmanship.

Having established a strong sense of harmony through the ensemble and the costuming, Gordy’s appearance, with his business clothing, felt like an outlier amongst the Cob County residents, creating a compelling and intriguing visual juxtaposition. What’s more, scenic designer Scott Pask reinforced this striking contrast through the distinct settings of Cob County’s rustic barn and Tampa’s vibrant lights. The barn’s stable, natural-wood structure had gaps of sunlight and the sky peeking in, creating a soft, inviting atmosphere. In contrast, the bold letters of the TAMPA sign sat on movable boards, showing the flexibility and variety of a world beyond the isolated county. Moreover, the TAMPA scene was flooded with piercing pink neon lights, creating a fantastical, electrifying atmosphere.

Moreover, performance-wise, Maya Lagerstam and Joe Moeller, as the storytellers, brought the story to life beautifully and with great humour. Their playful voices combined with their dramatic, full-bodied movements gave their characters an animated quality, infusing the story with a delightful sense of whimsy and vitality. Lagerstam’s vocals were particularly noteworthy, as her vibrato showcased a steady oscillation that anchored the performance while adding remarkable richness.

Lastly, Mike Nappi’s role as Peanut was absolutely hilarious; his vocal quality while telling quirky jokes sent the audience into fits of laughter. His iconic lines like, “I think,” were always delivered with perfect timing and a unique vocal inflection. In addition, his country American accent, like all the other members, added charm and realistic dimension to this comical character. Each time Nappi paused after saying “I think,” you could feel the audience bracing for the punchline, highlighting his acting prowess and ability to build anticipation throughout the whole crowd. Already an entertaining show, Nappi’s portrayal of Peanut was definitely one of the most memorable aspects of Shucked.

It is worth pointing out that, despite the jocular story, Maizy’s interest in Gordy genuinely devastated Beau. However, Nick Bailey’s portrayal of that grief was cheapened by his lacklustre movements. During his solo, “Somebody Will,” all his expression was constrained to his face, with his hands merely twitching by his sides, as if wanting to express his sorrow but held back from doing so. While this restraint may have been intentional, it made his sorrow appear underdeveloped, limiting the impact of the character’s emotional arc on the audience.

Additionally, although scenic designer Scott Pask created a pellucid juxtaposition between the two locations, the setting of Cob County was undermined by the moving curtain onto which the fictional world was projected. The movement of this oscillating curtain was a visual distraction from the acting, and rather than grounding the audience in the warmth and reality of Cob County’s relationships, it made that world feel unstable and ephemeral, as if the community was quietly dissolving before our eyes.

Ultimately, Shucked showcases great ensemble work, innovative costume design, and quirky characters. Its humour is contagious and exists as an innate aspect of the characters, making it a show perfect for families hoping to bond over delightfully comedic performances. No matter how gloomy you appear walking in, you’re bound to leave feeling as buttery as ever.