Pam Kragen

Like all jukebox musicals, this show’s book was written to fit the lyrics of songs from the writer’s catalog. Some jukebox musical scriptwriters do such a bad job stretching the plot to incorporate unrelated songs that it’s cringe-worthy. But not Read. His selection of mostly love and breakup songs from Martin’s catalog (the show uses songs from the ’90s and early 2000s) fit the plot perfectly, and often hilariously.

Shaina Taub won Tony Awards for both her “Suffs” book and original score, and it’s easy to see why. Her engaging, fast-moving story has humor, surprises, poignance and heartbreak. And her often-propulsive songs, articulately sung by an excellent, all-female cast, beautifully advance the story with wit, conciseness, power and sweetness.

This show’s apolitical, outrageously silly humor and the warmth of its open-hearted characters make “Shucked” a balm for the soul in today’s deeply divided America. Now playing through Sunday at the San Diego Civic Theatre, “Shucked” features a toe-tapping country music score by Brandy Clark and Shane McAnally, a corn pun-filled book by Robert Horn and witty, fast-paced direction by Jack O’Brien (former artistic director of San Diego’s The Old Globe). It also features exceptional choreography by Sarah O’Gleby, particularly in the all-male barrel-dancing number “Best Man Wins.”

Despite the show’s somewhat dark subject matter, it’s a fascinating and unique story. The show is high energy, well-produced and glitzy, and it’s an enjoyable ride because the music is so memorable.

Caden Brauch leads the cast as Marty, bringing more of a cocky, rock ‘n’ roll vibe to the character than the squeaky-voiced innocence of Fox. And as Doc, Don Stephenson creates his own whispery eccentricity in the mad scientist role originally played by Christopher Lloyd.

The touring production is a carbon copy of the Broadway show in scenic and costume design, which were both directed with humor and poignance by Jessica Stone, but with an all-new cast. The touring show is just as funny and the characters are just as odd and lovable. But the tour lacks the two vocal powerhouses who stole the show in New York: Victoria Clark as Kimberly and Bonnie Milligan as Debra — who both won Tony Awards for their performances.

During the 2-1/2 hour show, McClure plays two distinct characters; does dozens of spot-on celebrity impressions; performs tap, swing, jazz and athletic breakdance numbers; live-creates a song via audio loop, while performing with hand puppets and accents; does dozens of dizzyingly fast costume changes; and performs tireless physical comedy. (San Diegans may remember McClure’s facility for movement and humor when he originated another Tony-nominated role as Charlie Chaplin in La Jolla Playhouse’s pre-Broadway tryout of “Chaplin” in 2010.)

At the show’s center is the ultra-talented “King of Pop” himself, a whispery-voiced and tortured overachiever who lightly narrates his life story during the 2-1/2 hour show while at the same time revealing very little about himself. As entertaining as the show is, particularly in the stronger second act, Jackson remains an enigma to the end.

I was a skeptic until I saw “Beetlejuice” on Wednesday at the San Diego Civic Theatre. The 2018 Broadway musical’s first national tour is playing through Sunday and tickets for the run are almost gone. Not only does the musical have a loyal cult following — who arrive costumed as characters from the musical — it has also wowed the season subscribers who are arriving with only vague memories of the movie.