{"id":17378,"date":"2025-09-07T13:42:00","date_gmt":"2025-09-07T20:42:00","guid":{"rendered":"https:\/\/cahighways.org\/wordpress\/?p=17378"},"modified":"2025-09-07T13:42:00","modified_gmt":"2025-09-07T20:42:00","slug":"corny-heaven-shucked-bih-pantages","status":"publish","type":"post","link":"https:\/\/cahighways.org\/wordpress\/?p=17378","title":{"rendered":"Corny Heaven | “Shucked” @ BiH\/Pantages"},"content":{"rendered":"

\"Shucked\"\"You know what I think about\u00a0Shucked<\/em>, which (alas) closes at the Pantages today before continuing its tour?<\/p>\n

I think a paper plane that doesn\u2019t fly is just stationery.<\/p>\n

I think I just passed a huge squirrel\u2026 which is odd because I don\u2019t remember eating one.<\/p>\n

I think I saw this day coming, because it was on my calendar.<\/p>\n

and, I think that\u00a0Shucked\u00a0<\/em>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<\/a>.<\/p>\n

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:\u00a0Noises’ Off<\/em>, and the whole “…Goes Wrong<\/em>” series are in that vein.\u00a0Shucked<\/em> draws its humor from simple jokes, which come fast and furious. There’s a whole reddit thread that attempts to capture them<\/a>.\u00a0 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\u2019t working out”. OK, one more: “I was so poor if i wasn’t born a boy I would have had nothing to play with.”<\/p>\n

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.<\/p>\n

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<\/a> “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.<\/p>\n

In short: The 2024-2025 season at the Pantages goes out on a high note: the last three musicals,\u00a0A Beautiful Noise<\/em>,\u00a0Some Like It Hot<\/em>, and\u00a0Shucked\u00a0<\/em>have been spectacular. I’m not sure next season can top it.<\/p>\n

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\u00a0She Loves Me<\/em> at Actors Co-Op, and\u00a0Passion<\/em> 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.\u00a0 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.<\/p>\n

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”.<\/p>\n

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.\u00a0 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”<\/p>\n

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.<\/p>\n

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.<\/p>\n

Alas, we had to move our tickets because of our vacation to Hawaii<\/a>. The last shows in Los Angeles are today. So go see the tour<\/a> when it comes near you.: San Francisco (Sept. 9\u2013Oct. 5, 2025); Portland OR (Oct. 28\u2013Nov. 2, 2025); Seattle WA (Nov. 4\u20139, 2025); and back in Costa Mesa (Nov. 11\u201323, 2025). Hmm, perhaps I should get tickets for that :-).<\/p>\n

Credits<\/h3>\n

Shucked<\/em>. Book by\u00a0Robert Horn<\/strong>. Music and Lyrics by\u00a0Brandy Clark<\/strong> and\u00a0Shane McAnally<\/strong>. Directed by\u00a0Jack O’Brien<\/strong>. Choreographed by\u00a0Sarah O’Gleby.<\/strong><\/p>\n

Cast<\/span>: [underscores\u00a0indicate \u201cat our performance\u201d;\u00a0strikeouts<\/del> indicate \u201cnot at our performance\u201d; \u2191 indicates \u201cswung up\u201d]: Miki Abraham\u00a0Lulu<\/em><\/span>; Tyler Joseph Ellis\u00a0Storyteller 2<\/em><\/span>; Maya Lagerstam\u00a0Storyteller 1<\/em><\/span>; Mike Nappi\u00a0Peanut<\/em><\/span>; Jake Odmark\u00a0Beau<\/em><\/span>; Quinn Vanantwerp\u00a0Gordy<\/em><\/span>; Danielle Wade\u00a0Maizy<\/em><\/span>; Eric Pinnick\u00a0Grandpa, Ensemble<\/em><\/span>; Kyle Sherman Tank, Ensemble<\/em><\/span>; Zakiya Baptiste Ensemble<\/em><\/span>; Cecily Dionne Davis Ensemble<\/em><\/span>; Ryan Fitzgerald Ensemble<\/em><\/span>; Jackson Goad Ensemble<\/em><\/span>; Celeste Rose Ensemble<\/em><\/span>; Chani Wereley Ensemble<\/em><\/span>. Swings: \u2191 Carly Caviglia Dance Captain<\/em><\/span>; \u2191 Sean Casey Flanagan, Nick Raynor Dance Captain<\/em><\/span>; Mallorie Sievert.<\/p>\n

Music Department<\/span> (\u266f indicates local): Jason Howland\u00a0Music Supervisor<\/em><\/span>; Strange Cranium\u00a0Electronic Music Design<\/em><\/span>; Nick Williams\u00a0Music Director, Conductor, Keyboard<\/em><\/span>; John Miller Music Coordinator<\/em><\/span>; Jeff Theiss\u00a0Assoc. Conductor, Keyboard, Guitar<\/em><\/span>; Andy Poxon\u00a0Guitars<\/em><\/span>; Patrick Phalen IV\u00a0Drums\/Percussion<\/em><\/span>; Marc Hogan\u00a0Bass<\/em><\/span>; \u266f Brian LaFontaine\u00a0Guitar Sub<\/em><\/span>; \u266f Eric Heinly\u00a0Orchestra Contractor<\/span>.<\/em><\/p>\n

Production and Creative<\/span>; Jack O’Brien\u00a0Director<\/em><\/span>; Sarah O’Gleby\u00a0Choreographer<\/em><\/span>; Scott Pask\u00a0Scenic Design<\/em><\/span>; Tilly Grimes\u00a0Costume Design<\/em><\/span>; Japhy Weideman\u00a0Lighting Design<\/em><\/span>; John Shivers\u00a0Sound Design<\/em><\/span>; Mia Neal\u00a0Wig Design<\/em><\/span>; Derek Kolluri\u00a0Assoc. Director<\/em><\/span>; Robin Masella\u00a0Assoc. Choreographer<\/em><\/span>; Michael J. Passaro\u00a0Production Supervisor<\/em><\/span>; Alan K. Knight\u00a0Production Stage Manager<\/em><\/span>; Lily Archambault\u00a0Stage Manager<\/em><\/span>; Sophia Shafiuzzaman\u00a0Asst Stage Manager<\/em><\/span>; Dhyana Colony Company Manager<\/em><\/span>; Stephen Kopel CSA Casting<\/em><\/span>; Juniper Street Productions Production Management<\/em><\/span>; Arthouse\u00a0Digital Advertising<\/em><\/span>; RCI Theatricals\u00a0General Manager<\/em><\/span>; Bond Theatrical\u00a0Tour Booking, Marketing, Publicity<\/em><\/span>; Marathon Digital\u00a0Social Media<\/em><\/span>.<\/p>\n

Administrivia<\/strong><\/h4>\n

I am not a professional critic. I\u2019m a cybersecurity professional, a roadgeek who does\u00a0a highway site<\/a>\u00a0and\u00a0a podcast<\/a>\u00a0about 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:\u00a0Center Theatre Group<\/a>\/Ahmanson Theatre<\/a>;\u00a0Broadway in Hollywood\/Pantages Theatre<\/a>;\u00a0Pasadena Playhouse<\/a>;\u00a0The Soraya<\/a>, and\u00a05-Star Theatricals<\/a>. We\u2019re looking for the right intimate theatre to subscribe at \u2014 it hasn\u2019t been the same since\u00a0Rep East died<\/a>\u00a0(it\u2019s now\u00a0The Main<\/a>, and although it does a lot of theatre, it doesn\u2019t have seasons or a resident company), and post-COVID, most 99-seaters aren\u2019t back to doing seasons (or seasons we like). I used to do more detailed writeups;\u00a0here\u2019s my current approach<\/a>.<\/p>\n

Upcoming \u2666 Theatre \/ \u2663 Music \/ \u25ca Other Live Performance \u2013 Next 90ish<\/em>\u00a0Days (\u2295 indicates ticketing is pending).<\/p>\n