This post was updated Aug. 31 at 4:21 p.m.

Sweet and satisfying, “Shucked” is worthy of all ears.

The Tony-winning musical comedy has sprouted at the Hollywood Pantages Theatre, where it will stay through Sept. 7 on its national tour. Set in the fictional small town of Cobb County, the story follows the residents as they confront their fear of outsiders in order to seek help for their dying corn crop. With country and Americana roots, “Shucked” stands surprisingly strong in the current political climate, boasting a well-written story of community and growth. Oddly enough, one of the musical’s best assets is also its biggest weakness: its comedic script. “Shucked” rarely fails to get a laugh from audiences, but it could benefit from giving them some room to breathe.

“Shucked” plants a promising seed from the very start with the introduction of its first characters, Storytellers 1 and 2. Played by Maya Lagerstam and Tyler Joseph Ellis, the two act as narrators, keeping the musical’s narrative and comedic rhythm intact while displaying impressive performance range. As they set up the opening number, “Corn,” the Storytellers efficiently cover the history of corn and the origins of Cobb County, taking humorous digs at Christopher Columbus and predominantly white small towns. When the rest of the cast joins in, they complete the song with theatrical harmonies and a palpable sense of unity that seems to invite viewers to their close-knit town.

The ensemble of “Shucked” is given ample space to shine on the show’s simple yet cohesive set. The entirety of the production takes place in front of a rustic, barn-like backdrop, while smaller rolling set pieces are brought in and out to represent transitions to various locations. Paired with adorably thematic costumes of denim and plaid by designer Tilly Grimes, the musical’s visuals successfully convey Cobb County’s charm without employing more effort than necessary.

Ultimately, extravagant sets aren’t needed to tell playwright Robert Horn’s character-driven story. The show’s most magical element is its depiction of people who are evidently flawed, yet equal parts relatable and redeemable. This dynamic is best exemplified through the story’s protagonists – fiances Maizy (Danielle Wade) and Beau (Jake Odmark). When Maizy courageously decides to leave Cobb County in search of a corn doctor, she has a few stumbles. Her unyielding kindness and determination, however, make her a hero worth rooting for. Meanwhile, Beau’s earliest moments present him as rather unlikable. Yet, with the combination of Odmark’s magnetism and some of the best solo numbers in the show, the character is quick to become a fan favorite.

Grammy-winning country musicians Brandy Clark and Shane McAnally excel in their creation of songs that are catchy, humorous and capable of moving each character forward. Among the show’s best are “Woman of the World,” Maizy’s hope-filled, strong-willed solo, and “Best Man Wins,” an all-male number in which Beau and his friends plot to end a messy love triangle. Despite the traditionally masculine theme of the latter, the song leans more towards endearing than intimidating, wowing audiences with exciting choreography and mild stunts.

That being said, the smash hit of “Shucked” appears to be “Independently Owned,” with around four million more Spotify streams than the rest of the Broadway cast recording. Performed by Maizy’s cousin Lulu (Miki Abraham), the song details her satisfaction with single life. Although Abraham’s powerhouse vocals rightfully captivate the crowd, the lyrics themselves are predictably surface-level, leaning into its “don’t need a man” sentiment without much emotional depth. Nonetheless, this critique may be too harsh, as “Independently Owned” received the largest applause of the evening.

In fact, “Shucked” continuously succeeds at prompting audible reactions from its viewers, primarily through its fast-paced humor. The musical is truly laugh-out-loud funny, offering a range of jokes from corny puns to raunchy one-liners – many being so cleverly layered that they require a few beats for audiences to fully process. Horn also makes a point to give each character a distinct comedic style. This works especially well in the case of Peanut (Mike Nappi), who shares silly epiphanies in an ongoing bit that – impressively – doesn’t get old.

If it’s possible for something to be “too funny,” then “Shucked” meets the criteria. In marketing itself as a comedy, the production seems to severely overcompensate, refusing to let a few seconds pass without a quip being delivered. Because many of the jokes follow the same format – beginning with “It’s like Grandpa always told us …” or “Like the (blank) said to the (blank) …,” for example – they feel increasingly bothersome the more they appear. Additionally, their frequency sometimes interferes with the story’s pace, as considerable gaps are left between lines for laughter to die down. With a runtime of over two hours, the show would actually be even stronger if many of those moments were condensed.

With all of this min mind, there are far worse problems for a musical to have, and even a few too many jokes won’t leave audiences with a bad taste in their mouths. By the show’s end, viewers will exit with a genuine smile and open mind – either toward diversity or country music. With an inclusive message in a lighthearted package, “Shucked” taps into the enduring beauty of musical theater and harvests something truly meaningful.

Even in a corny husk, “Shucked” pops with a whole lot of humor and heart.