Shrek Jr

The WRANGLERS THEATRE COMPANY
SHREK JR
Performed at The Muse Theatre, Lipson, Plymouth
As seen by Nina Jarram, NODA SW District 3 Representative on Saturday 28 th
February 2026
Directed and Choreographed by Wendy Holmes
Musical Direction from Sharon Mitchell
The stage was set for a magical journey into fairy-tale land as the Shrek Jr logo was
projected onto the screen, flanked by castle wall flats that immediately evoked the
storybook world to come. A central staircase at the back of the stage cleverly joined
the set pieces, providing six possible entrances and exits. For a production with such
a large ensemble, this proved an effective staging choice, allowing the action to flow
seamlessly and giving the young cast ample opportunity to move confidently through
the space.
We were first introduced to three Storytellers who set the tale in motion. Their
narration was clear and engaging, delivered with expressive facial acting and
confident vocals that drew the audience straight into the narrative. The opening with
Ma and Pa Ogre was particularly inventive: the pair appeared through a beautifully
designed “face-in-hole” board. This humorous visual device contrasted nicely with
the rather harsh lyrics of their song about sending their son away, softened by the
warmth of a beautifully sung melody.
When we meet the now grown-up Shrek, the actor makes a bold and memorable
entrance, complete with powerful vocals and a delightfully dodgy Essex-style fake
tan. Soon the stage fills with an energetic ensemble of displaced fairy-tale characters
lamenting their rather less-than-happily-ever-after circumstances. Their enthusiasm
was infectious, and the characterisation across the group had clearly been
thoughtfully directed.
Among the highlights was the Big Bad Wolf, whose comic timing and sassy attitude
made him a particular audience favourite. The Three Little Pigs delivered their lines
with superb accents, while the Wicked Witch gave an articulate and dynamic
performance. Pinocchio’s effortlessly high-pitched voice, complete with a working
nose, was a charming touch, and Mama Bear confidently nailed the Gypsy-inspired
“Mama Rose” reference with flair. The dormouse proved a constant delight, reacting
continuously to the action around them, while the two Knights were strong and
assertive presences on stage.
Donkey was portrayed with great warmth and energy. The performer’s expressive
face, infectious smile and easy rapport with the audience captured the character’s
lovable enthusiasm perfectly. Meanwhile, more than thirty young Duloc citizens
demonstrated that they could command the stage with as much confidence as the
older cast members. Productions like this offer invaluable opportunities for young
performers to develop their craft, even in cameo roles.

Lord Farquaad’s entrance—performed on the actor’s knees to create his famously
short stature—was certainly amusing, though an entrance from further upstage might
have allowed the audience to appreciate the visual joke more fully before he moved
across the stage. Nevertheless, the Duloc citizens’ costumes were a triumph: bright
plastic tunics paired with yellow Lego-style wigs created a visually striking ensemble.
The choreography was inventive, particularly when the chorus responded to the lyric
“Up! Up! Up!” by gesturing downward toward the vertically challenged ruler.
Shrek and Donkey quickly established themselves as an effective comedy duo,
keeping the narrative lively. While Shrek’s accent occasionally proved difficult to
place—and at times seemed to compromise clarity and projection—the actor’s comic
instincts and stage presence remained strong.
Princess Fiona appeared in not one but three forms: young, teen and adult. Their
duet was beautifully blended, each performer contributing rich soprano vocals and
strong stage presence. Their acting through song was particularly impressive, filled
with expressive storytelling and engaging facial expressions.
“The Travel Song” provided a delightful parade of characters, introducing some of
the younger cast members in a playful catwalk sequence. One standout visual gag
was a full-sized camel advertising itself as available for pantomime season—a
brilliant comedic touch that would not be out of place in December’s traditional
Wranglers pantomime.
An interesting visual moment occurred as characters exited upstage past the
projection screen, becoming silhouettes. Whether intentional or not, it cleverly
echoed the idea of characters stepping out of the pages of a storybook.
The younger ensemble returned later, reinforcing their confidence and stagecraft as
part of the evolving story. Soon the narrative brought us to the show’s token
villainous creature: the ferocious Dragon. Her smoky entrance was suitably dramatic,
flanked by two Monty Python-esque Knights who delivered their choreography with
admirable precision. The Dragon herself was every inch the diva—vocally confident
and physically commanding as she moved assertively around the stage.
Another playful nod to Monty Python appeared when Lord Farquaad arrived riding a
hobby horse, accompanied by a guard clacking coconuts to simulate hoofbeats—an
affectionate parody that delighted the audience.
A particularly pleasing touch was the use of real food to represent Shrek’s roasted
“roadkill” supper. Small details like this provide excellent stagecraft training, allowing
actors to work with genuine props rather than miming actions and thereby enhancing
the realism of the moment. Shrek also briefly broke the fourth wall with a well-timed
audience interaction that was warmly received.

Musically, the production continued to shine. The Three Blind Mice offered strong
vocals as Donkey’s backing singers, and the Pied Piper’s tap-dancing skills were
cleverly incorporated into the choreography.

The standout moment of the entire show was undoubtedly the rousing “Freak Flag”
finale. The full ensemble returned to the stage in a vibrant celebration of individuality.
Highlights included a confident Peter Pan with a spot-on American accent and
attitude, a spirited solo from Gingy the Gingerbread Man, and a lively dance turn
from the Big Bad Wolf alongside a particularly sassy White Rabbit. Lord Farquaad’s
long-lost dwarf father also appeared in a memorable cameo, proving that theatrical
impact has nothing to do with size.
Overall, this was a well-directed and thoughtfully crafted piece of theatre. Strong
vocals, carefully drilled character work and moments of inventive staging combined
to create an engaging performance. The inclusion of Brechtian touches—such as
audience participation signage—added a playful theatrical awareness, while the
production’s greatest strength lay in its inclusivity. Every performer had a moment to
shine and the chance to develop their skills in front of a live audience who clearly
loved every minute.
PLEASE NOTE: Any observation made by the reviewer can only be based on what he sees at the
performance in question. The reviewer may have received information in advance of the performance
and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that that the observations made by the reviewer
will prove helpful in improving future productions.

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