Shucked Musical Review
There’s a lot to appreciate about this U.S. import—a country musical fixated on corn, complete with a theme about breaking barriers. But just how captivating is “Wordplay”? You’ll find out quickly enough. It’s filled with corny jokes, some genuine emotions, and a plot involving a mysterious corn doctor. The performances often blend stand-up comedy and interesting narratives, but it feels at times like characters are just tossed together, almost as if they’re randomly selected.
Set in Cobb County, the storyline revolves around Mysie, who is, well, about to marry Beau. When the town’s prized corn crop fails, she heads to Tampa, Florida, where she encounters the dubious Conman Gordy. Visually, the show enchants with Tilly Grimes’ thoughtful costumes, alongside striking lighting by Jaffey Wideman, and a stage adorned with cornfield props and twinkling purple rocks. The impressive set from Scott Pasque features a gigantic barn whose rafters seem weathered and vulnerable, leaning as if a tornado might just lift it away.
Brandy Clark and Shane McCanary’s musical contributions are a highlight. From hoedowns to heartfelt ballads and upbeat stagecoach rhythms, the energy is infectious. The five-piece band adds a lively edge, making the humor land with a rhythmic punch. Sarah Ogilvy’s choreography effectively builds steam, showcasing a performer as he walks over a whiskey barrel, merging applause with foot slaps.
Georgina Onuorah captivates in a role that embodies self-determination. Her performance connects strongly with Alex Newell, who also plays Whiskey-Making Lulu. When Ben Joyce (Bo) delivers a solo titled “Solo,” it makes you wish for a full-on country performance; meanwhile, Sophie Maxella yearns to explore beyond the confines of Mysie’s solo. Matthew Shee Dong Yong infuses a jazzy twist into Gordy’s tunes. Katy Richardson’s musical direction showcases various shades of country music, though the lyrics may not resonate deeply with storytelling traditions of the genre.
The narrative is largely driven by two storytellers, Monique Ashe-Palmer and Steven Webb, who share a charming rapport. Robert Horn’s script subtly discusses important themes—the need to focus on community and connection, rather than fixating on cataclysmic events.
However, the somewhat underdeveloped characters struggle to invest the audience in their arcs when expressing their concerns. Comedy often features quirky characters—a bit like the humorous peanuts in traditional setups—but here the everyone seems to exchange clichés and forced jokes, making the small-town humor feel flat. As a result, the dialogue begins to feel repetitive, slowing down what could be a more dynamic production from Jack O’Brien.
If you’re a fan of “Hee Haw,” a classic country-themed show, you might find some familiarity here. Maybe. Though if you wander over to the Michev Theater, you’ll encounter a wave of comedic jabs about spies. “Shucked” genuinely hopes to entertain, but separating the genuine humor from the fluff is essential to enjoy it fully.
For more info, visit the Regent’s Park Open Air Theater, London, until June 14th.
