Mark Meszoros

If you’ve read Gruen’s 2006 bestseller or seen the 2011 big-screen adaptation, you’re in for little in the way of surprises as the story goes. However, the creative presentation of the stage show certainly brings a new energy to the narrative.

The company is solid from top to bottom, the women really starting to impress with the aforementioned crowd-pleaser, “G. A. B.” (which stands for “Great American B—--”), in the first act. Other standout songs include the powerful, Act I-closing “How Long?” and purposeful Act II opener “The Young Are at the Gates.”

It is excellently crafted, this show for the person who loves rock music — especially 1970s rock music — and who appreciates a window into the creative process. Writer David Adjmi illustrates how many decisions go into making that piece of work you love, as well as showing the kind of dramatic tension that may lie behind them.

It’s all but impossible to imagine anyone who appreciates Keys' music not enjoying this show, and the guess here is it will prove to be entertaining enough for the non-fan, thanks to its relatable story and humorous turns — a few courtesy of nicely placed F-bombs.

That experience is one that fans of Nicholas Sparks’ 1996 debut novel and the beloved 2004 movie version are likely to appreciate, although the creative team — namely book writer Bekah Brunstetter, composer and lyricist Ingrid Michaelson and co-directors Michael Greif and Schele Williams — has made some notable tweaks while following the broad strokes of the familiar narrative.

“Shucked” has a million of them. If you’re looking for a night chock-full of knee-slapping jokes and toe-tapping tunes, your search concludes at Cleveland’s Playhouse Square.

Speaking of the show’s songs, which also include the memorable “Another Hundred People,” “Marry Me a Little,” “Barcelona” and the show’s namesake early number, it’s probably fair to say the late Sondheim, while unquestionably brilliant, isn’t to all tastes. This show is such a nice mix of music and dialogue that it depends entirely on neither element. Furth’s updated text should go a long way for those who do not keep regular company with Sondheim’s work.

That said, McClure — who inhabited the dual role in the show’s ill-fated, COVID-19-hampered Broadway production — is likewise skilled at physical comedy and is easily the biggest reason this “Mrs. Doubtfire” is a crowd-pleaser from beginning to end.