Review: Pioneer Theatre Company's Broadway-Bound SHUCKED Deserves to Be a Corn-Fed Hit

The world premiere of the Broadway-bound musical comedy SHUCKED, currently playing at Pioneer Theatre Company, is hilariously corny with story and song as sweet and juicy as fresh, buttered corn on the cob. It's an unexpected show that grows on you as it goes along, and like kernels stuck in your teeth, it stays with you long after.

SHUCKED (book by Robert Horn, music and lyrics by Brandy Clark and Shane McAnally) tells the fabled tale of Corn Cob County, its inhabitants sequestered from the rest of the world. When the stalks of its critical crop of corn begin to wilt, local girl Maizy makes the biggest decision of her life: to leave her fiancé Beau and travel to the big city of Tampa. There she finds corn doctor Gordy and convinces him to go back with her. Will he be able to save their town and its way of life?

The book by Tony Award-winner Robert Horn (TOOTSIE, 13) is side-splittingly, hysterically funny. In some scenes the laughter is literally nonstop, and deservedly so. Additionally, it's essential not to underestimate the skill that was required to craft an original script such as this, remembering that these characters and situations are entirely unknown to the audience at the start and yet all succeed in ingratiating themselves. Despite their archetypal attributes, they don't feel like stereotypes, which is perhaps the greatest measure of the book's success.

The expressive country score is by the Grammy Award-winning songwriting team of Brandy Clark and Shane McAnally, who have written for such artists as Reba McEntire, Jennifer Nettles, Kacey Musgraves, Kelly Clarkson and many others. Music supervision, orchestrations, and arrangements are courtesy of Jason Howland, the talented composer of PARADISE SQUARE and LITTLE WOMEN. With touching, heartfelt ballads and rousing group numbers, the songs are the emotional anchors of the show. The exhilarating first act solo "Independently Owned" is the unequivocal favorite, with additional highlights including the magnetic character-focused "That's How You Say 'I Do'" and the clever, dizzyingly staged one-two punch(line) of "Best Man" and "Mixtape Mash," all in the second act.

As it stands, the book is heavily weighted on the side of rapid-fire puns and jokes, and while incredibly funny could be infused with even more human emotion. On the other hand, the score is mostly earnestly introspective, wonderfully wearing its heart on its sleeve, but it could perhaps use a dash more humor. Both work well in their own silos and are already well-paired, but generally speaking, just a bit more integration of the two styles would create an even more cohesive, balanced whole.

The perfectly cast company is up to the challenge of bringing this distinctive show to life and is Broadway-ready from the sublime leads to the entertaining chorus.

Alex Newell, who starred in ZOEY'S EXTRAORDINARY PLAYLIST following the revival of ONCE ON THIS ISLAND, is a riveting actor and an other-worldly vocalist--in short, he's a star. As Lulu, he rapturously raises the roof in "Independently Owned," resulting in tumultuous opening night applause. It's unfortunate that he's not given another opportunity to belt out in the second act when his music takes a softer turn. While another solo would be great, a short reprise of "Independently Owned" or even just a brief belted spotlight in another number would be welcome.

Caroline Innerbichler, who originated the role of Anna in the national tour of FROZEN, carries the show with grace, sweetness, pluck, fortitude and any number of other adjectives that perfectly encapsulate the character of Maizy. Any time she opens her mouth to sing, it's as if the atmosphere of the theatre is charged and amplified.

As Gordy, John Behlmann strikes just the right balance between suave and goofy, creating an antagonist the audience not only loves to hate, it also loves to love.

Andrew Durand's Beau sings with full-throated gusto and acts with full-hearted emotion.

Kevin Cahoon's deadpan delivery as Peanut is simply flat-out comedy gold.

Broadway favorite Taylor Trensch and Ashley D. Kelley as the Storytellers completely capture the imagination of the audience from start to finish.

The brilliant direction by three-time Tony Award-winner Jack O'Brien (HAIRSPRAY, DIRTY ROTTEN SCOUNDRELS) ensures that nothing ever feels stilted or awkward. Instead there is an all-natural, organically produced pacing to the staging and movement, as well as the delivery of the scenes, jokes, and songs.

The down-home choreography by Sarah O'Bleby, whose credits include ALMOST FAMOUS and this year's Tony Awards opening number, is made up of mostly stylized movement, impeccably meshing with the rest of the staging. If anything, it leaves the audience wanting even more dancing.

Three-time Tony Award-winning scenic designer Scott Pask (THE BOOK OF MORMON, THE BAND'S VISIT) has provided an eye-pleasing, imposing slatted barn backdrop and accompanying pieces that are functional with multi-tiered layers. The rustic wooden set practically gleams under the lighting, especially when multicolored splashes of light appear on the cyclorama backdrop, courtesy of designer Japhy Weidman (DEAR EVAN HANSEN, BRIGHT STAR).

The versatile costumes by Tilly Grimes, earthy yet contemporary, are carefully calibrated for each character, with fantastic hair and wig design by Oscar and Emmy winner Mia Neal (MA RAINEY'S BLACK BOTTOM, ANNIE LIVE!).

While all the production design is top notch, there is a lack of spectacle that, while not out of place in relation to the style of show, still does dull the entertainment value from its full potential. The unit set, overuse of white light throughout, and limit of one costume per character, bring a sameness across the board to the different scenes that could be easily remedied with some automated adjustments to the scenery, additional costume changes, and more diverse lighting choices.

These recommendations will be easier to fulfill with a larger Broadway budget, and none overshadow the brilliance of the material and production as a whole. The creative team, cast, and production team should be immensely proud of their success in achieving that rare, elusive feat: concocting an original musical comedy that really works.

Will Broadway welcome with open arms a musical that's so different from the rest of the crop, or will the show be, like Corn Cob County, an isolated country retreat? The only sure thing is that SHUCKED deserves to be a corn-fed hit.

SHUCKED plays through November 12, 2022. For tickets, call the box office at 801-581-6961 or visit www.pioneertheatre.org.

Photo Credit: Emilio Madrid

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