Shrek

Shrek is that rare thing that appeals both to the cynics who are tired of all the traditional fairy tales, and to the romantics who love the traditional fairy tales. For this is on the face of it a ridiculous anti-fairy tale and yet is still the sweetest most grounded fairy tale of them all. The antithesis and yet the pinnacle of every love story children grow up believing. It’s not that unrealistic head in the clouds idea of love; it’s where beauty really is hidden away on the inside. And when it’s done this well, it’s an absolute joy to go to the theatre to see, where people leave feeling truly uplifted and happy. 

Burgess Hill Musical Theatre Company truly excel at their productions and this is no exception. The set has two elevated platforms either side of the playing area, used for a variety of different scenes adding height and spatial difference, leaving the centre free for moving set pieces where necessary or to make way for a truly fantastic and massive moving dragon puppet manipulated by several different people, who you quickly stop seeing and just believe the puppet instead, with its mannerisms and cuteness. This is helped by the cast totally committing to playing opposite it as if it’s real. The appearance of the massive plastic horse was a moment where the audience erupted with laughter: totally fabulous. 

The back of the stage is used for moving projections which are terrific, three dimensional and really add to each scene, complemented with lights and effects which never wash out the projections. There are spotlights to highlight action which work really well, ensuring everyone is lit. There were times where the stage was dark for what felt like a little too long, which unfortunately affects momentum and takes the audience out of the story albeit momentarily – sometimes the stage went dark when characters were still on it, which was a huge shame, as it would have been fun to see them move off and on at the end of or at the beginning of all the scenes not just some. 

It’s always fabulous to have a live orchestra and this one was amazing. It supported all the songs and score beautifully so that the music was able to be basked in and experienced. Russell Taylor and his team have done a brilliant job. Another huge undertaking especially for this show are the costumes, hair and makeup, and there are a large number of people who have helped make this happen as there are so very many intricate and detailed costumes, prosthetics, and makeup of all types including a lot of green but also a donkey face for donkey which was super and all the fairy tale creatures having full costumes including an extending nose for Pinocchio. These are all things you absolutely need for this show, it doesn’t work without them, and the audience expect them. Huge well done to everyone involved of that including the quick changes which can’t be easy in these costumes. 

The acting is what clinches this as being truly special and memorable especially in the shining lead roles. Jack Tompkins is a convincing and lovable Shrek who the audience roots for throughout, watching him reluctantly peel back his onion (or parfait) layers to love his beautiful Princess Fiona played with equal layers by Brownwen O’Malley. Her Fiona is feisty yet vulnerable, lonely and guarded yet willing to take risk – equal in strength and character to Shrek. It’s a wonderful equal partnership on show with beautiful chemistry and the romantics just wish for the dream come true at the end (and the cynics are probably wishing for the same thing). 

Despite it being Shrek and Fiona’s tale, Donkey and Farquaad do almost steal the show between them. Rich Gill’s Donkey is almost a living manifestation of the animated character of the film, complete with a voice so like Eddie Murphy who originated the character. You can close your eyes and actually hear Eddie Murphy, it’s astonishing. And it works triumphantly, as it’s the Donkey we all know and love. Rich Gill takes this and still manages to make it his own, embodying the role from head to toe: not easy when you’re clad head to foot in donkey fur including hooves for hands and feet. It’s something that will make people smile long after leaving the theatre, just by thinking about it.  

Jack Jackson-Humphrey's Lord Farquaad is simply magnificent. His comic timing has a touch of genius. This is a role he especially shines at, from head to knees (this makes sense when you realise he performs the character on his knees), including dancing on his knees in some incredibly funny sequences including high kicks in a line with other characters. The proposal to Fiona while on bended knee, aided by him moving his costumed leg with his hand to ‘bend’ it, was so uproariously funny it earned its own round of applause. His Farquaad is childish, gleeful, transparent, manipulative: the delicious kind of baddie that you like despite yourself, and is never over the top in performance, just perfectly pitched.  

And speaking of pitch: there is not a pitch out of place from anyone, in the whole entire show. There are some stunning voices: the clarity and purity of Bronwen O’Malley’s Fiona, the richness of Rich Gill’s Donkey: including a stunningly long note held at one point; and the gorgeous quality of Jack Jackson-Humphrey's Farquaad. And the rare and beautiful quality and tone of Anna Coote’s voice, especially a long and powerful note held, as the Dragon, was the crowning joy on a majestic vocal ensemble. It’s truly joyous to see actors that act so well and also sing so well in perfect balance. 

Not forgetting the imaginative and super fun choreography from Jen McLean who created such interesting shapes with a large number of actors. There were moving triangle formations superbly timed, one image where everyone was angled slightly differently which was utterly gorgeous to look at. And tap dancing rats. Which is absolutely necessary. And fabulous. There are other standout moments: all the creatures dancing together especially the dance from the Big Bad Wolf which was truly hilarious, the three blind mice – even in the bows, one had to be turned around as they were facing the wrong way, the blue bird blowing up in the “song-off” with Fiona, Farquaad trying to get down off the enormous horse, and the scene with Farquaad and the Gingerbread Man who was played fabulously with full commitment by Beth Gill.  

This is a show that has been created and brought together with love and care by Director Billy Kirwan, where every detail has been considered and added to the fullest effect, resulting in a show that is super quality as well as enormous fun. It’s wonderful to have a show that embraces and celebrates the different and often peripheral characters and puts them centre stage, to “let your freak side fly” as one lyric goes, which surely must be the anthem of anyone who feels slightly different or outside the norm. Absolutely brilliant job: congratulations to every single member of the huge team involved. 

© NODA CIO. All rights reserved.