Shucked

Shucked was my first Broadway show in a good few years. It doesn't seem like an obvious choice, and admittedly I didn't know a great deal about the show other than seeing it's advertisements. My first narrowing of choices came from deciding that I wanted to see something that wasn't already in London, nor on its way in the near future - so, Shucked seemed like a great place to start. Our next brilliant decision was deciding to queue for rush tickets at 10AM at the box office of the Nederlander theatre. I loved the hobnobbing with the other queuers, the thrill of not knowing if we'd even secure tickets, and also the joy of paying $40 for a fantastic seat in the stalls! It got our day off to a great start, and I'd recommend it to anyone planning a trip to the great white way! There was a real buzz in the theatre. It felt like everyone was really excited to be there, which helped to settle any nerves about whether this was the right show to see. 

It's somewhat hard to describe 'Shucked' in a succinct fashion. It's part love story, part ode to a distant hometown. You don't really have the time to question any looseness of plot, because you're distracted by some of the cracking one-liners that are coming at you thick and fast. It's tone is overall a good mix of Waitress and Muriel's Wedding - two of my all-time favourite musicals. 

The set is pretty glorious - it's a great big barn with more hidden entrances and exits than you could shake a stick at. There are great huge husks of corn, and so many other amazing set pieces and props that are frequently and rather impressively incorporated into their dance routines. 

The cast are probably the most impressive part of this production - but only just. They are all outstanding. Ashley D Kelly and Grey Henson play our storytellers, pulling us in straight from the off, and are used suitably to get the audience on board with ease. It really helps to have performers of this talent in these roles - they convince us that this potentially silly and light-hearted tale is worthy of our time. They are so engaging, that the times where they aren't present on stage, you sometimes spend that time wishing for their return. There's more impressive highlights all round, with Caroline Innerbichler and Andrew Durand playing our romantic leads - it's quite rare for me to be intrigued by love stories in shows, but I was really rooting for their connection. John Behlmann plays the deliciously sly 'Gordy' excellently. 

Alex Newell plays the role of 'Lulu' - Innerbichler's 'Maizy's' cousin. When I tell you it is one of the most articulate, precise and perfect performances I've ever seen - I still feel like I've denied you of appropriate superlatives. Newell performs the number 'Independently Owned' so perfectly, that it is the only time in my 15+ years of theatre going that I've felt inclined to give a mid-show standing ovation. It is easily the most impressive performance I have ever seen in a musical and I cannot wait for them to receive a Tony (surely the first of MANY?) for their work.

It really takes a lot for me to go in blind to a show and enjoy the music. But, this was interesting and exciting - straight off the bat, introductory number 'Corn' is a hilarious introduction to proceedings and you already feel like you know what you're in store for. The whole show blends genres seamlessly, and as someone who is no expert on Country music or the genre, it felt like a great insight to that style. 

I really hope that this has the legs to last a good few years on Broadway, and I hope even more that those legs make the hop over the ocean and onto the West End stage. It was original, exciting and damn right hilarious. I feel so privileged to see a show of this calibre. I hope it cements its status as a musical for the ages.