SHREK The Musical

Pendle Hippodrome Theatre Company’s Shrek the Musical, directed with flair and confidence by Stevan Manley, lit up the auditorium with colour, character, and a real sense of fun. Stevan kept the storytelling clear and the comedy sharp, and the audience responded warmly throughout. The show moved with an easy rhythm from its lively opening to its upbeat finale, and the packed house stayed fully engaged from start to finish. It was the kind of production that welcomed the audience into its world at once and never let the energy dip.

Shrek the Musical tells the story of a solitary ogre whose swamp is overrun by exiled fairytale creatures. To reclaim his home, he agrees to rescue Princess Fiona for Lord Farquaad. Joined by the irrepressible Donkey, he discovers friendship, unexpected love, and the truth that real beauty lies within. It is a story full of humour and heart, and this production embraced both with confidence.

At the musical helm, Lisa Manley guided the company with assurance. The vocals were strong across the board, with harmonies that were clean, expressive, and well‑balanced. Lisa ensured that the ensemble numbers had real lift and clarity, and the orchestra supported the cast with a rich, full sound that added depth without ever overwhelming the performers. The musical direction helped shape the emotional beats of the show, from the big comic numbers to the more reflective moments.

Choreography by Paige Roberta was a real highlight. Paige shaped the large ensemble into a disciplined, unified company, even when dressed as an assortment of fairytale creatures. Spacing was excellent, transitions were smooth, and the movement always served the story. The tap‑dancing rats were crisp and cheeky, earning a delighted reaction from the audience, while the Three Blind Mice delivered a cleverly timed routine that played beautifully on the joke of their “slightly behind” coordination. The Duloc characters were a burst of exaggerated, tightly drilled energy, their rigid, plastic‑smile choreography adding a layer of satire that landed perfectly. Paige’s work embraced the organised chaos of the fairytale world while keeping everything clear, entertaining, and visually satisfying.

The scenic design by Proscenium provided a strong visual backbone, taking the audience from Shrek’s swamp to Duloc, Fiona’s bedroom, the dragon’s lair, and through forests and open glades. The impressive revolve at centre stage, with its ring platform and central lift, used to wonderful effect, especially during travel sequences where scenery glided past the characters to create a cinematic sense of movement. It gave the show a dynamic quality, allowing scenes to flow into one another with ease. Fiona’s transformation scene made excellent use of the elevating platform, giving the moment real theatrical impact. The arrival of the Dragon was a standout: a huge dragon’s head bursting onto stage left through a plume of smoke, setting the tone for the entire sequence and earning an audible reaction from the audience. Scene changes were handled with precision by the stage crew under Stage Manager Kevin Mason, aided by Penny Hatfield. Their work was unobtrusive and efficient, allowing the cast to continue performing through transitions without breaking the flow of the story. The crew’s timing and coordination ensured that even the more complex changes felt smooth and confident, supporting the pace of the production.

Lighting by Alice Birt and Neil Doleman added atmosphere and colour throughout. The shifts from day to night were subtle and effective, the dragon’s lair glowed with fiery reds, and the forests bathed in deep greens. Spotlights were exact and supportive, following the leads through movement‑heavy numbers without distraction. The lighting design enhanced the show’s blend of comedy and fantasy with confidence, helping to define each location and mood without drawing attention away from the performers.

Sound design and operation by Marcus Whittaker supported the production well. A brief dip in levels early in act one was quickly corrected, and the rest of the evening was clear, balanced, and well‑judged. Music and vocals sat comfortably together, and sound effects landed cleanly without overpowering the action. Marcus ensured that the comedy beats were supported, the big numbers had impact, and the quieter moments kept their clarity.

Props by Julie Scott, Jackie Eddington, and Olivia Riley added charm and humour throughout. The oversized horse used by Farquaad was an audience favourite, and the clutter of Fiona’s bedroom was full of playful detail. Everything felt proper to the storybook world, supporting the comedy and character work without drawing attention away from the performers. The props team helped create a world that felt full, lively, and visually engaging.

Costumes by Pauline Pilkington and her team, makeup by Emily Dawson and her team, and wigs by Sophie Greenwood played a huge part in bringing the show to life. With so many ensemble members playing multiple roles, the demands were considerable, yet every performer appeared as a fully realised, instantly recognisable character. Quick changes handled with impressive efficiency, and the attention to detail across guards, Duloc citizens, rats, and fairytale creatures added richness to the visual world. The combination of costume, makeup, and wigs helped define each character instantly, supporting the humour and the storytelling.

In the title role, Jake Simpson delivered a performance full of heart, humour, and vocal strength. His accent work was consistent and characterful, and his rendition of When Words Fail was particularly sincere and well‑judged, offering a glimpse into Shrek’s vulnerability. Jake’s comedy timing was excellent, and his chemistry with his fellow actors, especially Donkey and Fiona, felt natural and engaging. He anchored the show with warmth and confidence, giving the audience a Shrek they could root for.

Cathryn Hunter was wonderful as Princess Fiona, vocally strong from her first note to her last. Her comedy timing was sharp, her facial expressions bold and funny, and her energy boundless. Her harmonies with Ruby and Heidi in I Know It’s Today were beautifully blended, creating one of the standout musical moments of the evening. Her duet with Jake in I Think I Got You Beat had the audience laughing aloud, and the two played off each other with ease, capturing both the humour and the heart of the scene.

As Donkey, Dan Mason brought energy, charm, and razor‑sharp comic instinct. His accent work was spot‑on, even while singing, and his physicality was expressive and full of character. Dan’s chemistry with Jake created some of the evening’s funniest moments, and he kept the audience engaged whenever he was onstage. His performance had a lively spontaneity that suited the role perfectly.

Jade Brett gave a fiery, charismatic performance as Dragon. Her rendition of Forever was a vocal showstopper, full of range and confidence. Jade’s slinky movement and flirtatious facial expressions, especially in her scenes with Dan, added humour and flair, making her appearances memorable and full of personality. She brought a bold, playful energy to the role that the audience clearly enjoyed.

Andy Hunter was superb as Lord Farquaad, earning laughter from his very first entrance. His accent, facial expressions, and comic timing were impeccable, and his performance of the Ballad of Farquaad, delivered with full theatrical flair. Andy looked fantastic in costume and embraced every comic opportunity with commitment, creating a Farquaad who was both ridiculous and thoroughly entertaining.

Catherine Cox brought bright character and sharp timing to Gingy, using a distinctive accent and expressive delivery to make the role stand out. Hannah Walker was delightful as Pinocchio, singing Story of My Life with clarity and character while keeping the puppet’s distinctive vocal quality. Her animated physicality added to the humour and made her performance instantly engaging.

As Teen Fiona, Heidi Grimshaw sang with confidence and blended beautifully with Ruby and Cathryn. Ruby Thornber, as Young Fiona, opened I Know It’s Today with poise and striking vocal control, drawing the audience in at once. Together, the three Fiona’s created a number that charted the character’s journey with humour, warmth, and beautifully balanced harmonies.

The ensemble played a huge part in the success of the production. With so many colourful characters onstage, it would be impossible to mention everyone individually, but the collective energy and commitment were outstanding. A particularly funny moment came from Tilly Riley, with the portrayal of Farquaad’s father, the dwarf Grumpy, whose visual gag and deep‑voiced mime earned a big laugh. The ensemble as a whole were vocally strong, visually engaging, and full of personality, creating a lively fairytale world that supported the principals at every turn. Their work gave the show its scale, its humour, and much of its heart.

Pendle Hippodrome Theatre Company once again proved the passion, talent, and community spirit that define their work. From the creative teams to the cast, crew, orchestra, and volunteers, this production showed what can be achieved when a company comes together with imagination and heart. A warm thank‑you to PHTC for another joyful evening of theatre. I look forward to many more in the future.

 

 

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