SHREK THE MUSICAL

There are a number of Amateur Operatic and Dramatic societies that routinely produce shows so full of energy, life and accomplishment that it’s hard to differentiate between amateur and professional – Shrek as delivered by TOADS falls firmly into this category. The show played the at Princess Theatre, Torquay to delighted audiences who turned out regardless of the pandemic.  The music, produced by Simon Carter and his team, Elaine Johnson’s choreography, the stunning sets and costumes by Scenic Projects and Charades Costumes all made up a technicolour vehicle which transported the audience to a magic world of music, colour and laughter. 

Taking on a project as iconic as the well-known story of Shrek is a challenge – how to tell a story which satisfies the well known and loved aspects of the show but still makes its mark as a new work for the company? I felt that David Youll and Elaine Johnson did a great job with this. There was no mistaking the enthusiasm of the well-packed audiences who rose to their collective feet in salute (and a certain amount of rocking the joint) as the show concluded.

The curtains opened on a mythical Once Upon a Time land and the gorgeous vocals of Mama and Papa in what seems to be a celebration of a wonderful world. That is, until you realise that these ogre parents are singing a terrifying homily to their tiny offspring on how cruel the world is to those who are “different” and the hostility Ogres can expect to face. The song is a deliciously jolly and upbeat melody and tempo, and it is therefore dependent on the acting of the individuals and the articulation of Shrek’s parents that this becomes apparent. The opening vocals were beautifully rendered and every word audible and each characterisation believable.  As the song concludes, the tiny (and very cute) ogre sets off in pursuit of a life hidden away from certain ostracism. 

Happily installed in his swamp land we meet the now adult Shrek, played with great pith and humour and a very plausible Scottish accent, seemingly perfectly happy with his lot in life. He is however then joined by a band of homeless fairy-tale characters (Pinocchio, Cinderella, the Three Pigs, The Big Bad Wolf to name a few). This hapless crew have been forced from their homes in Duloc by the vertically challenged Lord Farquaad. In a spectacular number, they lament ‘The Story of My Life’ and appeal to Shrek for help. Each of these well-known characters was played with energy and relish and they worked brilliantly as an ensemble, creating a feeling of stepping between the pages of crazy fairytale. The vocals filled the theatre and the movement and dances were deliciously precise.  

It may have been useful to do a little more work on character diction. Some of the dialogue was lost where the players characters stuck faithfully to their adopted voices which occasionally made it hard to hear what they were saying. 

Shrek sets off on his mission and meets Donkey – a wittily-played role with some superb comic timing. Donkey persuades Shrek to join forces and the two set off to Ducon to restore justice.  We then meet the crazy court of Lord Farquaad as well as the old rascal himself. The opening number of Farquaad’s court was an absolute treat and the player who dropped to his knees nightly to play Farquaad was glorious – funny and outrageously panto in his delivery. 

I’d like to take time out at this point to speak about the enormous amount of work poured into this show – every character had the most elaborate costume and makeup including prosthetics.  During dress rehearsal and show week, Shrek himself spent literally hours being converted into this amazing ogre. These were hours shared by an enormous number of the cast for equally dramatic transformations. The make-up team deserve a mention for the incredible speed and skill of their labour – awesome!

Another example of the incredible artistry of this show was the dragon, a wonderful, firebreathing monster, stunningly sung, this was a tremendous spectacle to watch, even as the smoke filled the stage perhaps a little more than anticipated!

So, after a trip past the firebreathing dragon, Shrek meets Farquaad, pragmatism prevails and Shrek agrees to a quest to collect a package (the Princess) for the Lord at the promise of his home being returned intact. 

We then meet Princess Fiona. Fiona is played by three actresses, the infant princess, the teenager and finally the sassy adult. Tiny Fiona was sung and acted beautifully by the 10 year old actress. As the character advanced in years, the teenage Fiona was also perfectly cast, a highly capable performer with lovely vocals.  

The second act opened with a fabulous number including a terrific tap dance. As the story progressed, we witnessed the meeting of Shrek and his sassy princess – a woman who takes no prisoners. This was a great performance, easily commanding the space. The two eventually fall in love and then traverse the rocky road of romance towards… well, I won’t spoil the ending!

It’s the mark of a great show when picking out highlights becomes almost impossible. It requires no weak links, drops of energy, forgotten text or major issues – this show had none of those things. The only slight incident discernible was the frankly hilarious moment when one of Farquaad’s legs remained casually slung over the top of the tower where he had been perched, even after he had reappeared at the front of the stage, unaware of the leg dangling behind him! Even funnier was the retrieval – both incidents falling firmly into the highlights category! 

After such a long winter of dark and silent theatres, the vivacity and colour which was TOADS rendition of Shrek can leave us in no doubt - Theatre is BACK!!!  

Katie Jones

NODA

 

Any observation made by the reviewer can only be based on what they see at the performance in question.  The reviewer may have received information in advance of the performance, and it is inevitable that their 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 the observations made by the reviewer will prove helpful in improving future productions.

 

 

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