Review of ‘Shucked’: “Cunk on musicals”

Regent’s Park Open Air Theatre starts its 2025 season with the British premiere of the most corn-voluted musical in town. Guillermo Nazara shares his views on the show, to let us know if its folk-ingrained narrative made him get a cob on.

I can’t digest corn. I’m serious; it’s a medical condition. It just comes in the way it comes out – rounded. So you would think a show dealing with small-town rednecks celebrating the wonders of this podded gold, as they regard it, would feel like not too palatable an experience to me.

In all fairness, I’m still not mad about this food – and unless you’re a chicken (and if you are, probably not a spring one), I will never understand the hype for it. But one thing I will say in its defense. And that is that, when it comes to its major stage advocate, it’s nothing short of maize-merising.

This is no revolutionary piece of theatre. As a matter of fact, all it has is what we’ve already seen a million times in this genre (I’ve been counting). And yet, they’ve found a way to grow a fresh version out of it.

It’s a classic hero-love tale featuring every archetype in the book: a naive, good-hearted protagonist willing to do anything to help her fellows; a disguised, cartoon-style villain trying to con the townspeople to fulfill his evil plan; a hard-headed romantic interest whose volatile temperament doesn’t exclude a platinum heart; a misandrist hag who’s fallen for the wrong guy too many times; and some random idiot – sorry, there isn’t much else about him.

It all works exceptionally well – from its deliciously stupid dad jokes and double-entendres to its engaging plot and extremely enjoyable score. Shucked is a fine example of a formula-based musical going for the slightest tweaks to concoct its own recipe. It doesn’t aim for pretentiousness; it just wants to entertain – but it never uses that concept as an excuse for lazy writing.

As such, the show cultivates the most awe-striking image in its audience – eagerly fertilized by its uproarious approach. Not a single moment goes down in the recount – not even remotely. Brilliantly paced and structured with impeccable flow, the script tractors a flawlessly executed narrative – where no element looks out of place, and the fun is provided in spades.

Brandy Clark and Shane McAnally’s (*smirk*) compelling blend of Midwest Americana pastiche with a traditional Broadway flavour is another triumph added to the piece’s arsenal (*double smirk*). Not scarce of earworms, the repertoire excels, nonetheless, for its dramatic-driven intentions – always prioritizing storytelling over hit-sounding fillers.

In a similar manner, their witty (or perhaps, wheaty) lyrics work as the perfect compost for Robert Horn’s astutely silly book – flaunting, in general, cleverness in their rhymes, with only some minor honing needed in the wording of a few pattern songs.

Bringing original Broadway director Jack O’Brien to detassel the show into its outdoor version, its dynamic staging, evenly integrated with the venue’s natural ambiance, is a major highlight in the production’s yield. Japhy Weideman’s intricate lighting fruitfully enhances the visual appeal, while Sarah O’Gleby’s zestful choreography reaps a copious collection of ovation-worthy numbers.

Planting an enduring impression in the viewer’s mind, the cast’s renditions are fields away from going to seed. Boasting vigorous energy, remarkable chemistry and timing, and marvelous vocals, none of their performances require any pesticides.

Among them, Ben Joyce earns a first mention as Beau through his commanding presence and extraordinary singing skills. In addition, Sophie McShera gives the most captivating portrayal as the lovable dim-wit Maizy — exuding infectious charm and a deeply rooted, organic comedy bone. Keith Ram makes another standout in the role of the village fool, Peanut — delivering a hysterical interpretation as if it were a can of corn. The praise continues with Steven Webb as Storyteller 2, whose innate humorousness and superb acting abilities never seem to run out of starch.

Putting the amusement as its kernel without sacrificing the chance for a fulfilling work of fiction, Shucked lands as the cream of the crop in this year’s so-far musical theatre offer. Sharply absurd, superbly executed, and packed with memorable tunes and characters, the show is guaranteed to harvest an instant fan following (myself included), which could easily and hopefully lead to a much-deserved West End transfer. Without a single component coming off as a husk, there’s nothing to cut but a lot to garner from watching it.

All pictures credit to Pamela Raith.

Shucked plays at London’s Regent’s Park Open Air Theatre until 22 June. Tickets are available on the following link.

By Guillermo Nazara