Shucked 🌽

Maizy and Beau are getting hitched, when the corn that protects their small community starts to die. The town needs answers. But who will dare to venture beyond the borders of Cob County?

Including the knockout songs ‘Woman of the World’, ‘Somebody Will’ and ‘Independently Owned’, this Broadway hit about an unlikely hero, an unscrupulous con artist, and a battle for the heart and soil of a small town, is not to be missed.

Let’s start with Jack O’Brien’s direction—brilliant, truly. There were a couple of moments that seemed to slightly contradict each other, but honestly, that's nitpicking. The overall vision was so cohesive and clever, you could tell every moment had purpose. It was smart, slick, and full of energy. You forgive the contradictions because you're too busy being impressed. And, the choreography by Sarah O’Gleby? Absolutely bonkers—in the best way. There were some moves in there that would make your knees hurt just watching them. Every number felt like it had its own unique personality, and yet they all flowed seamlessly. It was like musical theatre meets high-stakes cardio—and it worked beautifully.

Lighting by Japhy Weideman? Chef’s kiss. Even during the interval, they lit up the corn on top of the barn. That tiny detail alone says everything about the design approach: nothing was random, everything had intention. You probably wouldn’t notice half of it consciously, but you'd definitely feel it if it weren’t there. Subtle genius and extreme attention to detail. And then partnered with the sound design by John Shivers. Let’s be real, open-air theatre and perfect sound rarely go hand in hand. But this? This was the best I’ve ever heard in that kind of venue. Sure, a couple of lines got lost in the breeze, but it was shockingly clear overall. Voices cut through the music (most of the time), and considering the acoustics challenges, it was a big win.

Steven Webb & Monique Ashe-Palmer

Scott Pask’s set design echoed the same attention to detail. Clearly, backstage space is being used wisely, with clever scene transitions using versatile pieces. The whole setup was smart and fluid. That said, why were there still rocks under the house after the whole “remove the rocks” thing? Minor detail, but you can’t unsee it once you see it. Still, overall, it was a beautifully executed vision by an extraordinarily detailed and clever designer.

Now, Robert Horn’s book—this is where the show really shines. It’s one of the funniest new musicals out there, full stop. The jokes land, the characters are delightfully ridiculous, and somehow, amid all the laughter, you start to care. Not in a “bring a tissue” way, but in a “wait, when did I get emotionally invested in this chaos?” way. It strikes an outstanding balance between heart and hilarity, and that’s no easy feat. The music and lyrics by Shane McAnally and Brandy Clark are another high point. Not only do the songs sound great, but—plot twist—they actually serve the story! No filler tracks here. The lyrics are witty, heartfelt, and often unexpectedly profound. There isn’t a single dud in the score. Each song earns its place, and that’s becoming a rarity these days.

Keith Ramsay

As for the performances, just wow! Ben Joyce as Beau brought layers of depth, charm, and vocals that could stop time. Georgina Onuorah as Lulu was a powerhouse—hilarious, heartfelt, and vocally flawless. Steven Webb (Storyteller 2) was a comedic machine. His timing was impeccable, and his one-liners landed every single time. He paired wonderfully with Monique Ashe-Palmer (Storyteller 1), who had a warm, charismatic presence and held her own in the laugh department. And Keith Ramsay as Peanut? Absolute scene-stealer. The kind of performance where the whole audience perks up when he opens his mouth because something brilliant—or completely unhinged—is about to happen.

In Summary, this production is a joyful, cleverly crafted rollercoaster with heart, humour, and a ton of talent behind it. It’s not flawless, but the minor imperfections are overshadowed by how much fun it is. From witty writing and stunning design to powerhouse performances and songs that actually move the story forward, it’s a thoroughly modern musical done right. Catch it if you can—you’ll laugh, you’ll care, and you might even start appreciating corn as an art form. And this needs to be on the West End immediately!

Shucked plays at Regents Open Air Theatre until the 14th June, so not much longer to catch it. You can book your tickets here: https://openairtheatre.com/production/shucked