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Corny Heaven | "Shucked" @ BiH/Pantages
You know what I think about Shucked, which (alas) closes at the Pantages today before continuing its tour?
I think a paper plane that doesn’t fly is just stationery.
I think I just passed a huge squirrel… which is odd because I don’t remember eating one.
I think I saw this day coming, because it was on my calendar.
and, I think that Shucked is one of the funniest musicals I’ve seen in ages, and you should go see it when it comes on tour near you. San Francisco folks, you’re next.
Now, let’s be a bit meta about things first, and ask from where do musicals and plays get their humor. If you said, “the writers”, you would be right. But some draw their humor from physical comedy and timing: Noises’ Off, and the whole “…Goes Wrong” series are in that vein. Shucked draws its humor from simple jokes, which come fast and furious. There’s a whole reddit thread that attempts to capture them. I suggest you read the thread, and I’m not going to try to repeat them, but I’ll choose one more to give you the sense: “it didn’t take a cow to smoke a joint to realize the stakes were high”. These are the sort of jokes that when a character says them, you can hear the ripple through the audience as the joke hits. OK, one more example: “As the personal trainer said to their lazy client, this isn’t working out”. OK, one more: “I was so poor if i wasn’t born a boy I would have had nothing to play with.”
Plot? Very corny. Literally. It takes place in Cob County, where life revolves around corn. The corn starts dying, so the big wedding is called off. There’s a big debate on why. Once of the characters decides to go to the big city — Tampa — to figure out why. She gravitates to a grifter podiatrist (who advertises as a corn doctor) to help the town, and bring him back. As they say, hijinks ensue.
The songs are fun and silly. My favorite song is still “Independently Owned” (Alex Newell killed with this song on the Tonys; the tour’s Lulu, Miki Abraham, did a spectacular job with it). Other songs are still great, in particular “Friends”, which has lines like “I have to call you fam’ly / But I get to call you friend”. But this is fun music. If you want sophistication, go find a remounting of a Sondheim musical. You can get a good sense of the show from the cast album.
In short: The 2024-2025 season at the Pantages goes out on a high note: the last three musicals, A Beautiful Noise, Some Like It Hot, and Shucked have been spectacular. I’m not sure next season can top it.
The tour cast is top notch, especially the leads. The two storytellers, Tyler Joseph Ellis and Maya Lagerstam, have a wonderful playful chemistry (and I remember Tyler from both She Loves Me at Actors Co-Op, and Passion at Boston Court). Miki Abraham’s Lulu hits it out of the park with an attitude and voice that could kill (although they are toned down from the OBC). Danielle Wade is spectacular as Maizy and has a wonderful voice. She needs to put out a country album. Jake Odmark had the right brawn and attitude for Beau. And, oh Mike Nappi was spectacular as Peanut. You think the crew would be used to his jokes, but his timing and delivery was so spot on it was like watching the Carol Burnett show when Tim Conway was wound up. You could see folks trying to hold back their laughs. The cast clearly enjoys this show and each other, and that joy comes across in the performance.
You may think this is a stupid show. You may think it is, to use the words of one of the ushers, “corny”. It may be. But you will laugh and you will have a good time, and for two hours and fifteen minutes, with intermission, you’ll forget about the clown show in DC. Although, as Peanut says, “Politicians are like diapers: Both should be changed often, and for the same reason”.
With that, one other thought: This isn’t really a stupid show. Simple, perhaps, but not stupid. It is actually subtly subversive. On the surface it is about corn and jokes, but it is really about family. It is about diversity and accepting people. It is about finding love wherever it is. It is about feminism, and how you shouldn’t underestimate women (one of the lines is “A wise woman once said something smarter than anything a man ever said.”). It is also not a family show — there are numerous jokes that are double entendres, that will have kids asking “why is that line funny”. Example: “I’m independently owned and liberated / And I think sleeping alone is underrated / Don’t need a man for flatteries / Got a corn cob and some batteries”
This is one of those shows that, if I had been able to see it earlier in the run, I would have tried to get tickets to see it again. I liked it that much.
Additionally: This show has no projects, and not a single glitter cannon. No significant special effects. If it wasn’t for the language, I think this would be popular in high schools. I do expect it to become a staple show in the regional and local theatre repertoire. I’ll certainly go see it.
Alas, we had to move our tickets because of our vacation to Hawaii. The last shows in Los Angeles are today. So go see the tour when it comes near you.: San Francisco (Sept. 9–Oct. 5, 2025); Portland OR (Oct. 28–Nov. 2, 2025); Seattle WA (Nov. 4–9, 2025); and back in Costa Mesa (Nov. 11–23, 2025). Hmm, perhaps I should get tickets for that :-).
Credits
Shucked. Book by Robert Horn. Music and Lyrics by Brandy Clark and Shane McAnally. Directed by Jack O’Brien. Choreographed by Sarah O’Gleby.
Cast: [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Miki Abraham Lulu; Tyler Joseph Ellis Storyteller 2; Maya Lagerstam Storyteller 1; Mike Nappi Peanut; Jake Odmark Beau; Quinn Vanantwerp Gordy; Danielle Wade Maizy; Eric Pinnick Grandpa, Ensemble; Kyle Sherman Tank, Ensemble; Zakiya Baptiste Ensemble; Cecily Dionne Davis Ensemble; Ryan Fitzgerald Ensemble; Jackson Goad Ensemble; Celeste Rose Ensemble; Chani Wereley Ensemble. Swings: ↑ Carly Caviglia Dance Captain; ↑ Sean Casey Flanagan, Nick Raynor Dance Captain; Mallorie Sievert.
Music Department (♯ indicates local): Jason Howland Music Supervisor; Strange Cranium Electronic Music Design; Nick Williams Music Director, Conductor, Keyboard; John Miller Music Coordinator; Jeff Theiss Assoc. Conductor, Keyboard, Guitar; Andy Poxon Guitars; Patrick Phalen IV Drums/Percussion; Marc Hogan Bass; ♯ Brian LaFontaine Guitar Sub; ♯ Eric Heinly Orchestra Contractor.
Production and Creative; Jack O’Brien Director; Sarah O’Gleby Choreographer; Scott Pask Scenic Design; Tilly Grimes Costume Design; Japhy Weideman Lighting Design; John Shivers Sound Design; Mia Neal Wig Design; Derek Kolluri Assoc. Director; Robin Masella Assoc. Choreographer; Michael J. Passaro Production Supervisor; Alan K. Knight Production Stage Manager; Lily Archambault Stage Manager; Sophia Shafiuzzaman Asst Stage Manager; Dhyana Colony Company Manager; Stephen Kopel CSA Casting; Juniper Street Productions Production Management; Arthouse Digital Advertising; RCI Theatricals General Manager; Bond Theatrical Tour Booking, Marketing, Publicity; Marathon Digital Social Media.
Administrivia
I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.
Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).
- September: ♦ Fiddler on the Roof in Yiddish at The Soraya; ♦ Eureka Day at Pasadena Playhouse; ♦ One Man, Two Guvnors at A Noise Within. Possibles: Just Another Day at the Odyssey (simply so I can go up to Dan Lauria afterwards and ask if he’ll ever bring back Meeting of Minds, which stopped when he went off to do Lombardi many years ago); Real Women Have Curves at Kentwood Players.
- October: ♣ Fly Me to the Moon at The Soraya; ♦ Hairspray at 5-Star Theatricals; ♦ ha ha ha ha ha ha at Pasadena Playhouse
- November: ♦ Jaja’s African Hair Braiding at CTG/Taper; ♦ Paranormal Activity at CTG/Ahmanson; ♦ Suffs at BIH/Pantages;
- December: ◊ ACSAC Conference; ♣ Nochebuena: A Christmas Spectacular at The Soraya; ♦ Stereophonic at BIH/Pantages;
This entry was originally posted on Observations Along the Road as Corny Heaven | "Shucked" @ BiH/Pantages by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.