The musical comedy has come a long way over the past century. When looking at every current Broadway show, there’s an impressive dexterity in what makes audiences laugh. And yet, in a post-Book of Mormon world, it may be difficult to appreciate comedy at its basic core. Shucked is part of a rare breed of theater that harkens back to the very beginning with a plot so rudimentary that it relies on familiar tropes of Midwest culture. This isn’t a story that needs a PhD to laugh with. Outside of a few references, this is largely a show about instinctive response, where giving oneself over to the gag is enough to satiate. After all, this is a show that proudly mentions it’s about corn and little else. Thankfully, it’s enough to make for a good night of theater.
In short, Shucked is a story about farmers whose crops are starting to whittle. Efforts to find a cure have been difficult, leading one small-town woman to visit Tampa, FL, for a potential savior who is, in fact, a huckster. Add in a few love stories and a wraparound device that’s straight out of vaudeville theater, and the show begins to turn into an excuse for nonstop punchlines. At times, supporting actors take center stage for grand soliloquies that are just dad jokes, presented without context for the audience to ponder. Mileage may vary on how uproarious they are, but they work with the tone of the larger production and benefit from a room of like-minded spectators.
If Shucked has any shortcomings, it’s simplicity. There’s nothing here that’s challenging the form, nor are the songs necessarily approaching Sondheim levels of profundity. They’re merely set up and executed over two acts with just enough suspense to keep audiences engaged. Even so, it paints these small-town folk as having an incredible level of depth that makes their simple desires hold the weight of the world and feel universal. Despite this, Shucked isn’t lazy. If anything, it’s an incredible testament to how much effort it is to steamroll through one-liners that may rank as the most memorable that any touring production has given in years.
This is a show best appreciated for what live theater is designed for. With flashy and often minimalist sets, the plot moves at an expedient rate and doesn’t dwell too much on melancholy. In fact, the conflict is that of the melodramatic mustache-twirling variety that is resolved with more convenience than a Music Man con job. It’s a story of camaraderie and celebration of the Midwest’s wholesome values. Nobody is belittled. Instead, they are allowed to work in tandem to create a surprising mix of comedic styles told with an accented flavor. The story may become predictable at times, but the earnestness is impeccable, and the upbeat music has enough of a beat that is sure to get stuck in one’s head. If nothing else, it deserves points for not resorting to the same old corn jokes that one makes seeing the poster.
In a crowded line-up of new major musicals, Shucked stands out as a show willing to reach wider audiences. It’s not caught up in misdirecting emotions or lyrics that are a bit too clever. Instead, it’s a story about solving a problem and then proceeding to find a solution. It may come in the most absurd way possible, but it will still leave a smile on the audience’s face. When everyone is having this good a time, who cares how corny the jokes are? This may never be on the level of The Book of Mormon or even Something Rotten!, but it still fits well within musical comedy’s history as a work full of love and effort that, thankfully, doesn’t draw too much attention to itself. It’s a show that knows what it wants to say, and that’s enough to have a good time.
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