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'Shucked' Story and Characters | The BSB Podcast · The BSB Podcast

• 0:00
  Welcome back listeners to the latest episode of the BSB Podcast.
• 0:04
  Today we're journeying to Cobb County to explore the corniest Broadway musical on the scene, Shucked.
• 0:09
  But before we dive into the story and characters of this corn poppin musical, like, follow, and subscribe to us on all social media platforms Spoiler warning, we are talking
• 0:16
  about the North American touring production of Shucked, so if you haven't seen this show yet, then hop on your John Deere tractor and mosey on outta here.
• 0:22
  But if you're still here, welcome to the farm, let's get started.
• 0:26
  So RJ, this is one of those shows that when we heard about it a while ago, uh all we knew about it was that it was about corn.
• 0:35
  But prior to walking into this show, how much did you actually know about Shucked?
• 0:40
  As this show was on the Tonys two years ago, three years ago, I can't remember exactly, so it's been a while since it was on Broadway.
• 0:47
  What did you know about the show before walking into it here at the Fisher Theater?
• 0:50
  corn.
• 0:53
  That is it.
• 0:55
  What is it about this show that is so secretive?
• 0:59
  Um, well, I mean, of course, like, it's a newer show, still, and...
• 1:05
  Like, now knowing the show, I'm not sure that there is much more to say aside from Corn oh Because otherwise, I could imagine that the synopsis would sound very similar to other
• 1:19
  shows.
• 1:19
  uh Like, high-level generic rom-com is how I perceive it to be marketed.
• 1:32
  I remember a while back, somebody that I had known was talking to me about the show and they're like, have you seen the marketing for it?
• 1:42
  And I was just like, I've seen marketing for it, but it doesn't tell you much more than corn.
• 1:46
  Like that's what it is.
• 1:48
  And the way they described it was that basically it is the music man, but told with corn.
• 1:54
  And they're like, and that's why they're literally not telling you anything because like they don't want to say we're the music man with corn.
• 2:00
  And when you boil it down after seeing the show, that's exactly what the story is.
• 2:03
  It's basically just the music man.
• 2:05
  Yeah, I mean, obviously we'll get into it, but I think it grapples with many themes from a couple different musicals, with Music Man being the plot is very much in alignment.
• 2:23
  But I saw sneak pieces of other shows and uh yeah, it's not always a good look to be like, it's like just this show, but like with corn.
• 2:35
  Right, which I feel like this is part of, and we'll talk about the humor in a little bit because I think that's such an important part of the story, but I think that as a show, it
• 2:42
  leaned really heavy on its humor of all different levels to kind of hide some of the fact that this story had a lot of themes and pieces from other shows that it was just kind of
• 2:52
  reusing, you know what I mean?
• 2:54
  Yeah, which of course technically does fall into the identity that they wanted it to have.
• 2:59
  A comedy about corn.
• 3:03
  They did technically succeed.
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  They did.
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  did.
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  ah Also listeners, if you have been paying attention, that's probably like seven times we said the word corn.
• 3:12
  So if you want to make it a game and tell us how many times we say the word corn by the end of this, that'd be swell.
• 3:19
  So jumping into the book of Shucked, this is by Robert Horn, who wrote the book to Tootsie the musical, the Broadway musical, as well as 13 the musical on Netflix.
• 3:31
  Teen Beach movie one and two, Sharpay's fabulous adventure, the Suite Life movie, to name a few of the Disney Channel original movies that he worked on.
• 3:38
  So truly this feels like comedy and humor was at the forefront when writing this story.
• 3:43
  It feels like they were really trying to make a show that was easily accessible, which I will say it did pretty well.
• 3:48
  This was a show that I think that anybody could go see, like a Book of Mormon, anybody at any level could go see this and appreciate it and not feel too overwhelmed with the
• 3:58
  Broadway style of a show.
• 3:59
  um
• 4:01
  But right off the bat, you hear a filmography or a show, like the shows that someone wrote like that, what does it kind of tell you about a show right away?
• 4:10
  Like I said, Tootsie and all these Disney Channel original movies.
• 4:13
  I mean, full transparency, I did not grow up with said Disney movies.
• 4:20
  um I mean, they were happening when I was growing up, but we didn't have cable, so I did not watch them.
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  um
• 4:29
  But same idea, kind of like young audience geared or like the generation feels the same.
• 4:39
  Like what I know of those movies and what I know of the show and the other musicals.
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  um That it feels right.
• 4:47
  You've got a whole bunch of dad jokes.
• 4:52
  thrown in or over the top.
• 4:55
  just ideals, which also many of those shows and films also a tad over the top.
• 5:07
  But we'll to that in a reason.
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  It's almost like a genre of like, again, I don't want to compare the show, but Book of Mormon kept coming to mind where it was just like so over the top making jokes or
• 5:19
  something.
• 5:20
  a lot of the jokes were super sexual in this show.
• 5:24
  This is not necessarily a show for families of all ages, but there was a lot of these pieces where it just like, okay, you just want us, you're throwing so many jokes at us to
• 5:33
  make us laugh.
• 5:35
  because you know that not all of them are gonna stick as well, you But I guess that digresses from the humor, and we wanna talk about the story at first.
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  So.
• 5:45
  I struggled trying to think of who the main character was of the show.
• 5:50
  I get that it was an ensemble piece, I get that it was um following lots of different people, but it felt like they were trying to have Maizy be the person whose story it was.
• 6:04
  But truthfully, feel like the narrator 1 and 2 were the main characters of the story.
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  So I was having a really hard time of like, how do I classify this?
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  Where do I go?
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  How do I start telling a story from this?
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  What, like, whose story do you think that this is?
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  I I would agree that the break up of focus
• 6:26
  are we telling, like the storytellers, they are what they are, right?
• 6:31
  They're storytellers.
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  So I don't know that I can consider this to be their story, because they're telling it.
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  I do think technically, I mean, yeah, it's not a public piece.
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  I think it is the story of Cobb County.
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  Okay, so like that's the main character.
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  Maizy is
• 6:53
  the most utilized character.
• 6:58
  I mean, I would say she probably is the main character if we had to choose one.
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  But with the supporting cast being very, very close, there wasn't a big discrepancy between
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  her and everybody else.
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  Like was very, very close in proximity.
• 7:22
  Sure, absolutely.
• 7:23
  You know, just to give listeners a little bit of an idea, this is, you mentioned Storyteller 1 and 2, this is definitely a frame story where we're having two people who
• 7:32
  stepping inside the story and outside the story.
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  They're kind of ensemble members, but they're really narrating what's happening to Maizy.
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  And when I was kind of developing the sheet, I kind of came to this idea that like, it's interesting that Act 1 seems to be more Maizy's story, like, linearly.
• 7:50
  where the second one felt more like an ensemble piece.
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  So for the first act, have Maizy about to get married.
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  The corn starts to die in Crop County, which that's what they're kind of known for.
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  They're surrounded by corn, their whole environment's corn.
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  And then she leaves to go find a corn doctor who happens to be a con man, which is where the music man vibes come in for a second.
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  But it was interesting because in that first piece, it really was her story.
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  And also in act two, it was like we were focusing on Bo.
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  We were focusing on
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  Maya, not Maya, sorry.
• 8:23
  We were focusing on Lulu, you know, and we were focusing on these, all these different characters and Maizy was still a part of that.
• 8:28
  But I felt like there was almost two separate identities of storytelling going on between act one and act two, at least from my opinion.
• 8:34
  It kind of felt like that.
• 8:36
  Yeah, I think the setup required Maizy to be the focal point of Act 1, because then obviously Act 2 doesn't really happen.
• 8:45
  I think a lot of the plot points happen to her specifically, which makes it feel like she's the main character.
• 8:53
  uh When really, again, they're all generally, especially in Act 2.
• 9:03
  kind of coming together.
• 9:05
  They all have their standout moments, right?
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  It felt very equitable in regards to like, oh, we have Maizy, then we have Bo, then we have Lulu, then we have, you know, just down the line.
• 9:20
  comparatively to just like always coming back to Maizy.
• 9:26
  But I think technically didn't they call it a fable, right?
• 9:30
  They did.
• 9:31
  So interesting, because I feel like just off the top of my head when I think of fables, I don't know that there's typically one main character.
• 9:44
  Like, it's usually a group realizing the same thing.
• 9:50
  Correct.
• 9:51
  And I think what's interesting, like what you're saying there is without Maizy going to find Gordy, who is the con man, and bringing him back, like the story wouldn't have gone
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  anywhere.
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  Like she had to be the one to journey out and do that for the rest of the city, like the rest of the town to grow.
• 10:08
  um Metaphorically and actually speaking.
• 10:14
  And so she is the catalyst for that, but she becomes almost less important as the story goes on.
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  As it becomes more of like a love square, you know, that's where the story ends up coming in the second story.
• 10:28
  And so I should think it's just interesting because I was like, okay, there's clearly like, there is a linear line here, but it felt like it could almost be two different
• 10:37
  shows.
• 10:37
  Like they were like, they were connected, but they were definitely told differently on how we were looking at it.
• 10:42
  At least that's kind of what stuck out to me.
• 10:44
  Well, yeah, in the line of like, you're taking someone, and there were a couple of different plot points, right?
• 10:51
  Like part of it was the growth and development of an individual, where Act Two is more so the growth and development of an entire community based on the fact that this one person
• 11:03
  pushed them outside of their stereotypical comfort zone or boundaries.
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  So it's kind of like a domino effect, if you will.
• 11:13
  Sure, absolutely.
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  And it's interesting you say that because they all talk about how you do the same thing.
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  Like you don't leave, you don't go and find answers.
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  Everything you need is right here.
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  Which was giving me some Moana vibes, you know, at the very beginning where the dad's kind of like, everybody stays here, the community takes care of you.
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  We are the answers.
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  Why are you trying to find something outside of here?
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  And Maizy is very much like the, can't solve a problem that A, we don't know about and B, that like we've never dealt with this before.
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  And so I think that was my first bit of like, oh, here's one of the movies I'm really feeling.
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  And maybe that's just because I've watched Moana so many times.
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  That's what like resonated with me the most in that piece.
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  But I think that was, like I said, the first time that I felt like, oh, here's a piece of a different movie that I'm noticing picking up here.
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  And so then we move into the music man.
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  So Maizy finds Gordy, who was a shady man, who owes a lot of money, a lot of debts.
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  ah And he sees a get rich quick scheme by coming and taking these rocks, these rocks that are important to the storyline because they're absorbing all the water, sorry, spoiler
• 12:18
  alert, which I thought that it was going to be opposite.
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  I was almost banking on the fact that these rocks were going to be like, because the grandpa took the three rocks from there, they were no longer.
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  giving power to the dirt, but that is not the story here.
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  uh And basically he comes back there and tries to con them all to getting these rocks and to take them from them.
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  And some people are very hyper fixated on the fact that he's a crook and they can feel it and some people are not.
• 12:42
  uh What did you think of the Music Man part two?
• 12:46
  Yeah, I mean...
• 12:48
  was fine.
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  It's not my favorite storyline.
• 12:53
  m But I think that also just comes, the cringiness of the timeline of someone meeting someone else and then going with them to their hometown and then.
• 13:11
  all the things that happen after that in the midst of obviously him being the con man and the set like kind of false remorse, em which then becomes like potentially actual remorse.
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  Maybe it's just because it's like the age old tale.
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  And it was like incredibly predictable.
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  em Just with additional humor.
• 13:40
  I, so it was funny because as we're watching this, I'm always, know, the psychologist in me is just like, uh, always wondering like how it's going to be taken by the people near
• 13:49
  us.
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  And you know, our guests seem to have a great time, but there was moments where I was just like, this is a lot of the stuff that I know RJ doesn't like care for in a show.
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  You're not always a big like joke after joke.
• 14:01
  You don't necessarily always love a love story.
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  And that's what this kind of turned out to be.
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  But also it was just following a lot of tropes.
• 14:06
  Cause I agree with you.
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  She goes to Tampa.
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  finds this guy who looks like he's probably a good 20 years older than she is, kisses him, brings him back, and is engaged in like three days and getting married.
• 14:20
  And I was just like, and nobody's batting an eyelash but Lulu.
• 14:24
  And I was like, in this moment, I was like, am I turning into a dad here?
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  Am I turning into a adult where I'm just like, Lulu's the smart one here, all the rest of you are just kind of being silly.
• 14:33
  They fell into a lot of those traps, and part of me is like, okay, what's the charm?
• 14:37
  of shucked.
• 14:38
  it kind of like recently, you know, I went and saw a very Farmington and a very Northville Christmas and they're like making fun of Hallmark movies.
• 14:45
  But part of the charm is that we're poking fun at something that we all know is ridiculous.
• 14:48
  Is that what this is trying to do?
• 14:50
  Or is it the fact that we are supposed to buy into this a little bit?
• 14:53
  And that's not one of the comedic elements that we're talking about here.
• 14:56
  Where do you feel like these tropes are falling in?
• 14:58
  Do you feel like they're meant to be poking fun at themselves?
• 15:02
  Yeah, I think it's so extreme that it's just, which is why it's stacked with humor on top of it.
• 15:10
  And so granted, I mean, there were moments that I definitely enjoyed.
• 15:17
  I think the pacing was hit or miss for some scenes, but.
• 15:23
  Even though it may have been a tad predictable, it's a tad predictable because like that's what people like.
• 15:29
  uh And so, yeah, and we like to make fun of it, right?
• 15:36
  So like, even within itself, was making fun, blatantly making fun of itself, but then even verbally, some of those lines that were delivered and the facial expressions that were
• 15:48
  delivered were like basically egging you on to be
• 15:53
  rolling your eyes because of how insane whatever the situation was.
• 16:01
  And yes, Lulu with the sensibility at some points, maybe not in others, uh but more so the voice of truth throughout the show.
• 16:12
  You know, I do want to just say real quick listeners, I always feel like I throw RJ under the bus a bit but I'm like, this is not usually your favorite kind of thing.
• 16:20
  And he's always like, no, no, like that's not what it is.
• 16:23
  He truly loves theater.
• 16:25
  I want you to know that like theater is one of his passions.
• 16:28
  There's just that.
• 16:29
  And I don't mean to buy that.
• 16:30
  think this is a show that we both enjoyed in different pieces.
• 16:33
  Again, don't want to speak for you.
• 16:34
  Obviously, you know that there was one part I was laughing so hard I was crying, but I just wanted to highlight the fact that there are.
• 16:41
  that there are aspects of the show that are ridiculous because they're meant to be ridiculous.
• 16:46
  Like they're meant to be, um the word farcical is coming to mind, but that's not the right word, but like over the top, we know what it is.
• 16:55
  It's predictable because it's comfortable and it's comfortable because it's predictable.
• 16:58
  know what I mean?
• 17:00
  And so I think part of going back to the marketing, when you try to just kind of hide what's behind there,
• 17:09
  you're bringing people in and you're giving them something that they're gonna enjoy, like, it's really hard to market almost as show when you're like, these are all the things that
• 17:17
  it is.
• 17:18
  It's the music man, it's Moana, you know, it's this musical, like the story is predictable.
• 17:24
  Like you don't wanna like do that because it's something that almost needs to be experienced.
• 17:28
  I'm probably rambling here that makes no sense, but do know what I mean?
• 17:32
  I mean, at the end of the day, I think it's...
• 17:35
  comedy show on stilts I think that the one-liners and the dad jokes, the rhetoric was something I would expect to hear if I were going to have a drink at a bar that's a comedy
• 17:51
  club.
• 17:51
  um Which is also why I wouldn't recommend bringing your children.
• 17:58
  I mean, you could, but it'll all be over their head.
• 18:01
  um
• 18:03
  There were some jokes that took me a minute as you remember, where I was just like, I did not get that effort.
• 18:08
  So it took me a moment to really process it.
• 18:10
  Yeah, like you really have to be in the...
• 18:13
  you have to be right there with what they're saying em every time because...
• 18:18
  and there was so much humor that it's very like the...
• 18:23
  there were some moments that they paused because they knew that it would either take people a minute or it would just...
• 18:29
  people needed to laugh but there were others where like they were stacked and so you were like two jokes behind trying to figure that one out but we're already three jokes ahead.
• 18:40
  Um
• 18:41
  many different layers of comedy too.
• 18:43
  We're like, I'm just gonna say people, are some, some, a lot of the jokes are dick jokes.
• 18:48
  There are a lot of sex jokes.
• 18:49
  There's, and some of times they're really blatant, like we know what we're talking about.
• 18:53
  And there's some that you actually had to think about being like, Oh, I got it.
• 18:57
  Wait a second.
• 18:57
  Like, and there is a lot of those.
• 18:59
  So like, again, if you want to take your mom by all means, just be prepared for the fact that you're going to have an interesting conversation on the other end of it.
• 19:07
  Um, I think it also again, it speaks to the people that you're bringing.
• 19:10
  Everybody has different kinds of jokes that they like.
• 19:12
  have different levels of jokes they want innuendos They want the ones that you have to think about.
• 19:17
  This show provides that all, but it's at a breakneck speed.
• 19:20
  It's like if you put four stand-up comedians together in a room and say, have a show.
• 19:26
  And they're all just letting joke after joke after joke, you know?
• 19:29
  And that's not a bad thing, but it is a lot.
• 19:32
  It's a lot of humor and that's a lot of jokes coming at you while you're also having a show that has music in it.
• 19:39
  And that can be a lot.
• 19:41
  Yeah, and as we will get into in our next episode, does the music contribute to the comedy?
• 19:52
  Does the comedy contribute to the music?
• 19:55
  knows.
• 19:56
  We don't know.
• 19:57
  uh But of the story, RJ, what worked for you?
• 20:03
  Like what of this story did you actually appreciate?
• 20:07
  The pacing, while some of it was a detriment, it moved along.
• 20:15
  And you needed to move along.
• 20:16
  uh Especially Act 2.
• 20:19
  I don't know what the actual timing is on Act 2, but it flew.
• 20:27
  And I appreciated that it wasn't so overloaded with minute detail.
• 20:36
  Like we just, needed to get a grasp.
• 20:37
  were moving through so much, such little time and yet so much time because we were basically living all day with these characters in their timeline.
• 20:50
  ah
• 20:52
  I will say this about the show too.
• 20:55
  Just to harken back to what you're saying, that, so when we sat down for act two, it was nine o'clock.
• 21:02
  Okay.
• 21:02
  So was about an hour and 15 minutes for the first act of 15 minute intermission at nine o'clock, pretty much on the dot, we sat down.
• 21:08
  And just for those who are wondering too, they opened right at the time that the show was opening.
• 21:13
  Like they did not wait.
• 21:14
  They did not, like they were like, we have a, we have a time crunch here.
• 21:18
  We sat down at nine o'clock and at nine 55,
• 21:22
  we were already standing for closing for for the bows, which usually we're not standing up until about 10, 10, 10, 15 ish is usually, cause I used to check my watch to see how long
• 21:32
  it's been.
• 21:33
  So we were good 15, 20 minutes ahead of what a normal show would end.
• 21:37
  That second act was a breakneck like act.
• 21:40
  Like we were in and out.
• 21:42
  They finished their story.
• 21:43
  We were done.
• 21:44
  And then you were like, like it was crazy how fast we got out of act two.
• 21:49
  So the pacing, yes.
• 21:50
  Top notch to that.
• 21:52
  yeah, it didn't get bogged down.
• 21:53
  Like they just, they did what they came to do.
• 21:57
  The book and uh music did what they came to do.
• 22:02
  you're grateful.
• 22:04
  You're like, I don't need another ballad.
• 22:06
  I don't need another high energy song.
• 22:09
  I don't need another scene of somebody crying or having a heart to heart.
• 22:14
  I just need one and then move on.
• 22:18
  which I do want to give props to Act Two as well, is that when they lifted the curtain, so to speak, for Act Two, it started exactly where it was.
• 22:25
  And there wasn't like a, let's rehash what happened, you know, it was just like the, and we're picking up and we're moving on.
• 22:32
  so like they had like comedy-wise, like pacing-wise, that story was tight.
• 22:39
  And I will give it that.
• 22:40
  um Overall with the humor, did you...
• 22:46
  If you will, did you like the humor?
• 22:47
  Did you not like the humor?
• 22:48
  I know there's probably aspects you did like and you didn't like, but like overall, what was your feel on that?
• 22:53
  I would say it was good.
• 22:55
  mean, I think I would feel differently.
• 23:00
  I think depending on who you attend the show with will determine how you feel about the humor.
• 23:05
  uh Like I said, like, do I want to go see that show with my family, my mother, my sister, whoever?
• 23:16
  No, absolutely not.
• 23:19
  Do not want to be sitting next to them.
• 23:21
  Do I wanna go with a group of friends after a couple drinks?
• 23:26
  Yeah, I probably think that's, I'm probably pissing myself because it's so fun.
• 23:30
  So it's just two very different, like you have to know and kind of, that's what you have to kind of expect.
• 23:38
  So I guess, I appreciated the humor for what it was.
• 23:44
  It's not always my cup of tea.
• 23:46
  I think, did we need?
• 23:48
  17 dick jokes?
• 23:50
  Probably not.
• 23:50
  We could have gotten away with like five, but I understand what they were trying to do.
• 23:56
  Again, it's kind of like watching South Park or watching Book of Mormon.
• 24:01
  I used to love watching South Park.
• 24:03
  I still enjoy Book of Mormon.
• 24:05
  RJ, if you would have brought your mom and your sister, or if I would have brought my mom, I would have been mortified sitting.
• 24:10
  I would have been right in the face and I would have been like stock still not moving.
• 24:13
  Like don't talk to me.
• 24:14
  Like I would have felt very awkward.
• 24:16
  And so I'm glad that like, obviously this is a show in which you should have the right environment of people with you, you know?
• 24:24
  Like you should have.
• 24:26
  we brought some great people with us.
• 24:27
  They were laughing their butts off and they were enjoying themselves and that made me enjoy it more.
• 24:33
  ah My mom would not have laughed at half those jokes and I wouldn't have wanted her to laugh at half those jokes.
• 24:40
  And so ah right before we go on to their performances as well, I do want to ask you, did you like this narration style?
• 24:48
  I actually think I was a fan of the um frame storytelling that they used with the
• 24:54
  Storyteller one and two.
• 24:55
  I won't get into how they're connected to the story.
• 24:57
  I do think that it was an interesting way to have something to help move the story along without having it all happen on stage.
• 25:09
  Like, like there was moments in act two where they're like at a bar and they're like jumping from like five minutes, two minutes, one minute later, like all these parts and
• 25:17
  like it added to the comedy and it also added to the, overall feeling.
• 25:22
  And I really liked that.
• 25:23
  I felt like that's what
• 25:24
  kind of made shucked enjoyable for me were these two individuals.
• 25:29
  Yeah, I would agree.
• 25:30
  I don't think there's any other way to do it aside from the way that they did.
• 25:34
  Because there's way too much missing, there's too much empty space for us to be jumping as much as we were jumping.
• 25:44
  Whether that was timeline wise or just kind of setting up the scene.
• 25:49
  ah And honestly, a good way that when you have those kind of interactive, like where they jump in and out of the story,
• 25:58
  Obviously it helps with casting ultimately.
• 26:02
  Like don't need like an additional six people to play the roles that they were playing ah for, you know, two, three lines.
• 26:13
  ah
• 26:16
  me of & Juliet where Shakespeare and his wife were jumping in and out of the story.
• 26:22
  And like that felt like a really cool thing because I don't know, it brought the story to life a little bit more.
• 26:28
  Like I don't know how to put words to it, but I liked the effect of like we're outside the story, but then also we can step into it and we can be a part of the numbers if we want
• 26:35
  to.
• 26:35
  And like by the time you get to the end, there is a connection to the story that it all makes sense.
• 26:40
  And I really did love that.
• 26:41
  So I think that there was just, there was a lot of beauty to having
• 26:44
  the storyteller one and two.
• 26:46
  obviously the Maya and Joe deserve big props for being those two roles because they were fantastic.
• 26:52
  Yeah, and I think audiences feel more connected to a show when that happened.
• 26:55
  Like you're kind of rooting for that person, especially when they're breaking the fourth wall, which they do.
• 27:01
  um And just.
• 27:05
  feeling like you somehow know, like obviously you're getting to know their character as the show is going on.
• 27:11
  So then it kind of feels more personal um when and if anything happens at the end.
• 27:19
  um But you just, there's more investment, I think, in general.
• 27:24
  for sure, for sure.
• 27:26
  Before we close out this episode, I do want to give a shout out to uh Miki Abraham, who played Lulu, who was absolutely one of my favorite characters in the show, as well as
• 27:35
  Quinn VanderTwerp, who played Gordy He also was a real standout for me.
• 27:39
  But was there anybody from this cast that really was giving, like in your opinion was giving their all, would really shout out to you from Shucked?
• 27:47
  I mean, honestly, they were all great.
• 27:50
  I don't know that there was really one standout because all of them had powerhouse vocals um and honestly, like equal parts.
• 28:06
  Like I felt like all of the characterizations and all of the stage time were pretty equal and difficult in their own right.
• 28:17
  So yeah, I mean, I love uh independently owned as a song.
• 28:24
  And so of course, love, uh just love that portrayal of Lulu.
• 28:30
  uh But really, I thought everyone was great.
• 28:35
  You know, there is one cast member that could use a little bit more time on the stage.
• 28:39
  And it was probably the most important cast member in the entire show.
• 28:42
  um Nick Bailey's abs probably needed more stage time than they had.
• 28:46
  This is disappointing.
• 28:47
  Shucked why are you doing this to us?
• 28:49
  Two minutes, Max, come on.
• 28:52
  disappointing.
• 28:54
  We don't know who Brian was looking at the entire time.
• 28:58
  Well, I will never live down this.
• 29:01
  the beginning of Act 2.
• 29:05
  I'm trying to remember when that happened.
• 29:07
  Yeah, wasn't long into Act Two where that happened.
• 29:13
  immediately awake after after your intermission snack
• 29:17
  Yes, I mean, I didn't even need my nose ring.
• 29:21
  Wide alert alert.
• 29:22
  was like, hello, welcome to the show.
• 29:25
  It's nice of you guys to have joined.
• 29:27
  We're glad to have you.
• 29:28
  ah that being said, we are running out of time.
• 29:33
  So stay tuned for our part two discussion of Shucked.
• 29:35
  Thanks again for joining us here in our box seats until next curtain call.