Shrek The Musical

On Tuesday, 18th March, I was invited to watch Shrek The Musical, produced and performed by The Jewish Theatre Company. Upon arrival, I was greeted warmly by the front-of-house team, with special thanks to Shelly Blackston for her consistent hospitality throughout the evening.

I have cherished memories of Shrek The Musical, from its original film adaptation to the stage production at The Theatre Royal, Drury Lane, and now seeing it available for amateur licensing. The musical, a fairytale adventure, follows Shrek, a green ogre yearning for peaceful solitude in his swamp. However, his peace is disrupted by fairy-tale characters evicted from their homes. To reclaim his quiet life, Shrek confronts Lord Farquaad, leading to a greater quest to rescue Princess Fiona—an encounter that transforms his life forever.

While some might perceive Shrek The Musical as a children's show, its depth and vibrant production appeal to audiences of all ages. The Jewish Theatre Company demonstrated this brilliantly. From the opening numbers, Big Bright Beautiful World and Story of My Life, to the finale, the cast delivered with enthusiasm, effort, and vocal prowess. Accompanying the performances was a live orchestra—a personal favourite element of live theatre—under the direction of David Wilson as Musical Director and Marilyn Blank as Associate Musical Director. Though the orchestra created a rich and impressive sound, there were moments where its volume overshadowed the vocals and dialogue underscore, making some sections challenging to hear.

Dean Simons portrayed Shrek skilfully, capturing the character’s mannerisms and body language consistently. A note of improvement for prosthetic use: maintaining posture can prevent costume shifts. Nevertheless, his overall costume and performance aligned perfectly with the character. Michael Bowers delivered an excellent portrayal of Donkey, showing authentic on-stage chemistry and growing friendship with Dean Simons across scenes. Although occasional pacing issues in dialogue affected clarity, both actors excelled vocally in songs like Don’t Let Me Go and The Travel Song.

The production introduced Princess Fiona through clever theatrical transitions, from young to teen to adult. Ella Bernstein, as Young Fiona, impressed with her effortless vocal control and precision—she’s undoubtedly a talent to watch in the coming years. Aimee Horwich brought energy and grace as adult Fiona, commanding the stage with strong projection, excellent stage presence, and seamless interactions with other characters. Her musical numbers were a delight to experience. Andrew Farley, as Lord Farquaad, handled the physical demands of his role commendably, delivering humour and wit while performing largely on his knees—a testament to his stamina and preparation.

The ensemble cast played crucial roles, demonstrating strong stage presence, interesting choreography, and creative movement. Technically, the show presented challenges, from Princess Fiona’s transitions to Dragon puppetry. The Jewish Theatre Company executed these elements seamlessly. Their use of projections added a modern touch, though adjustments to stage lighting and consideration of timing of projection changes could enhance projection visibility in future productions.

Overall, the production team, led by Robert Margolis and Martin Robinson, delivered a polished, humorous, and uplifting musical. Their creative vision ensured a smooth, engaging experience for the audience. Congratulations to The Jewish Theatre Company for entertaining us at Middleton Arena—thank you for your warm welcome and hospitality. I look forward to your next production.

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