After all the hype and waiting it is here. The new Broadway musical “Shucked,” with a book by Robert Horn, and music and lyrics by Brandy Clark and Shane McAnally, has opened and is currently playing at The Nederlander Theatre. The result resembles the aftermath of a collision between “The Music Man” and “Hee Haw” that took place in a cornfield. The weak book and shallow storyline are hurried along at lightning speed by two narrators, (over ambitious Grey Henson and perky Ashley D. Kelley), residents of Cob County, who guide you through the madcap fable, about a near corn disaster. Most of the dialogue is constructed of double entendres, puns, and one liners that come out of nowhere, used just to hopefully provide a laugh. There is no doubt that there is a certain audience for this type of humor, and their response becomes like a laugh track on a television sitcom, almost forcing you to engage. Those constant outbursts of guffawing are randomly punctuated by groans caused by the occasional distasteful joke. All in all, it is more a variety show with a theme, providing stand-up comedy, music, songs, and co-hosts who introduce each event. It may be reminiscent of “Laugh In” on steroids.

The music and lyrics are not as memorable as some of the one liners that audience members will probably be repeating at summer barbecues. Many of the songs do nothing to advance the plot and when the two-dimensional characters are finally given a chance to reveal their emotions through a song, no one cares, mainly because it isn’t a joke. One exception would be the number “Independently Owned” sung by Lulu, (a gifted Alex Newell), which is a declaration of who she is, and befitting the essence of her character. Except for the opening number “Corn”, the choreography by Sarah O’Gleby is sophomoric and tries to redeem itself with rolling barrels in “Best Man Wins.” Costume design by Tilly Grimes is minimal and adequate and the skewed barn by scenic designer Scott Pask is fitting for this off-beat musical. Jack O’Brien assures that the evening passes quickly never missing a beat as he bombards the audience with witticisms, gags, and dim-witted jokes.

The cast has zeroed into this comedic formula and serves it well, using impeccable timing and their devotion to the material, as a catalyst for success. They create an energy that is infectious. John Behlman creates a sleazy Gordy with a heart. Caroline Innerbichler provides Maizy with an adventurous spirit and blind innocence. Gordy’s brother, the dimwitted Peanut is embodied by Kevin Cahoon’s droll sense of humor. He has definitely graduated from the Henny Youngman school of humor cum laude. Andrew Durand inhabits the role of Beau with a down home sensitivity. Then there is Alex Newell who instills a third dimension into Lulu, with intelligence and a certain reality that is missing from the rest of the show. She understands her character and her powerful vocals just reinforce her outstanding performance.

This new musical serves its title well, with corn popping constantly, but is not as “amaizing” as it could be if it had a bit of salt and butter. The reason sitcoms have a mere half an hour episode is because you can only take so much of the same type of humor for so long before it becomes stale and boring. This is one of the problems with this show running for close to two and a half hours. The intermission is senseless especially when the end of the first act is weak, being a reprise of the opening musical number. Audiences can expect to be treated to good, senseless, lowbrow entertainment at its best, with the added bonus of a couple of good songs performed to perfection. If they happen to be looking for a for a tight, well written Broadway musical with substance and pay full price for a ticket, they may feel they’ve been “Shucked.”