Shrek the Musical

From the moment I stepped into the foyer of Blackfriars Arts Centre last night, I was no longer in the lovely local venue so close to my heart but transported straight into the worlds of Duloc and the Swamp. Fake trees framed the space, a ‘Beware the Ogre’ placard and Farquaad banner flags hung from the walls, and even the raffle table became part of the storytelling, manned by Little Bo Peep and a wicked witch. ‘Wanted’ posters for the characters like the White Rabbit, Humpty Dumpty and the Big Bad Wolf were scattered throughout, rewarding curious glances, while a particularly amusing touch came in the form of a wooden sign emblazoned with ‘Bogs’ pointing the way to the toilets. This thoughtful attention to detail from BOS Musical Theatre Group set the tone perfectly for what followed: Shrek the Musical, a lively stage adaptation of the beloved animated film, which follows an unlikely ogre hero on a quest to rescue Princess Fiona, only to discover that love and identity are far more complicated—and more rewarding—than they first appear.

At the heart of the production, the three principals, Shrek, Donkey and Princess Fiona, proved to be an exceptionally strong trio, anchoring the show with confidence, charisma and clear chemistry. Each brought something distinct to their role, yet together they created a cohesive and engaging dynamic that carried the story with ease. As the titular ogre, George Tompkins delivered a hugely accomplished performance that was as impactful as it was nuanced. From his first entrance, his undeniable stage presence commanded attention, matched by a superbly sustained Scottish accent that never compromised clarity; every word, even in song, landed cleanly with the audience. What elevated George’s portrayal was the careful balance he struck within Shrek’s character: stern and grumpy yet never one-note, abrupt and uncouth but underpinned by warmth and vulnerability. His physicality was superb throughout, fully embodying the role, while his performance of “Who I’d Be” was a genuine highlight - its gentle Celtic lilt lending a sense of magic to an already beautifully paced and measured delivery. Beneath the layers of prosthetics, the emotional depth conveyed through his body language and vocal tone was nothing short of wonderful.

Aaron Carpenter’s Donkey was another fabulous turn, brimming with energy and personality. Incredibly expressive and dynamic, he brought an infectious sense of fun to the role, proving himself an engaging and highly watchable stage presence from start to finish. Vocally, Aaron demonstrated a strong and versatile instrument, with both ‘Don’t Let Me Go’ and his standout turn in the Motown-inspired ‘Make a Move’ highlighting his excellent tone, stylistic flexibility and crisp diction. His enthusiasm was truly unstoppable - at times almost unquenchable - which occasionally led to moments where the delivery felt a touch rushed, and the volume slightly over-projected. A little more light and shade would have added further depth, but these are minor notes in what was otherwise a hugely endearing performance. Aaron is clearly a skilled musical performer, and his portrayal of Donkey won over the audience with ease.

Evangeline Elizabeth’s Princess Fiona was a standout turn and a finely judged character performance. A clearly talented comic actress, she paired sharp instincts with a genuinely beautiful voice—rich, well-supported and impressively controlled, moving seamlessly between moments of strength and gentleness. Her characterisation cleverly suggested a princess whose years of isolation have left her with a manic energy and a touch of unpredictability, creating moments of precise, well-observed humour while still grounding Fiona’s hopelessly romantic core in sincerity. She was equally convincing when firm and fiery, commanding the stage with assurance. Her rendition of ‘Morning Person’ was a highlight: brilliantly funny, pitched just the right side of manic, as though fuelled by caffeine and years of pent-up optimism. Paired once with George Tompkins in ‘I Think I Got You Beat’, the two demonstrated impeccable timing in a number that was both hilarious and gleefully grotesque. Altogether, it was a very engaging and thoroughly enjoyable performance, underpinned by some truly lovely vocal work.

Dan Poulson provided much of the show’s laugh-out-loud comedy in his very funny turn as the villainous Lord Farquaad. It was a solid feat of physical comedy and stamina, performed entirely on his knees, with the occasional glimpse of kneepads only adding to the visual gag. The audience clearly enjoyed the sight of him scuttling and strutting around the stage on his “comedy little legs”, which generated consistent laughs throughout. Cackling manically, Dan threw himself into the comic choreography, particularly in ‘What’s Up Duloc?’, which featured a well-timed moment as he was “lifted” into the air. He played up to the audience with a glint in his eye and a broadly camp, sneering approach that leaned into the character’s absurdity. Vocally, much of his material was delivered in a sung-spoken style, which suited the character well and helped maintain the lightness of tone. ‘The Ballad of Farquaad’ was performed particularly effectively, landing its comic beats clearly and confidently. His entrance on a fairground horse was another effective moment, with the physical business of getting him on and off adding further to the scene’s humour.

The featured supporting roles were also strong and contributed significantly to the production’s energy and humour. Charlotte Lenton as Pinocchio was a bright and energetic presence on stage, delivering a consistently funny and engaging performance that captured the character’s cheeky charm. Natasha Connor’s Gingy was equally enjoyable, brought to life with crisp comic timing and a clear sense of character that made each appearance memorable. Both performers also demonstrated strong vocal characterisation, and their voices blended impressively in the ensemble number ‘Freak Flag’, where they helped drive the number’s infectious energy. Chantelle Gill made a striking impact as the Dragon, channelling her inner diva in the high-energy, soul-inspired power ballad ‘Forever’. Her performance showcased a powerful, beautifully controlled voice, delivered with confidence and real theatrical flair, making it another musical highlights of the show.

More supporting performances came from the younger cast members in the beautifully staged ‘I Know It’s Today’. Zara Wright as Young Fiona and Charlotte Cartwright as Teen Fiona both demonstrated excellent vocal ability and brought clear, well-observed characterisation to their respective sections of the song. Each held their own confidently alongside the principal cast, delivering their material with poise and assurance that belied their age. There was a natural charm and sincerity to both performances, and together they helped shape the number into one of the show’s most touching and musically satisfying moments.

Moving on to the large ensemble, and there was plenty to enjoy, not least the impressive sight of so many performers filling the stage in the big ensemble scenes. Visually, the group looked strong and synchronised, and there was a clear sense of commitment from all involved, with everyone working hard to bring their characters to life and interact with enthusiasm. The ensemble singing and dancing was generally solid, helping to maintain energy and drive in the larger numbers and contributing effectively to the scale of the production. Todd Vizard-Jones and Ben Green both showed good comic timing and confident stage presence as the Captain of the Guards and the Bishop respectively, with Ben also doubling as Thelonious the executioner, complete with a very distracting comedic codpiece. Amanda Dawson impressed as Queen Lillian and the ‘fortune teller’, bringing a rich, powerful voice to her musical moments. Jack Johnson also stood out as one of Farquaad’s guards and henchmen, delivering a fully committed ‘silent’ comic performance throughout, with expressive facial reactions that added real humour and detail whenever he was on stage.

Moving on to the creative team, director Jenny Cartwright should be commended for bringing such a large cast together and shaping a production that consistently found moments of fairytale magic. In conversation at the interval, she spoke about wanting to bring “light and shade” rather than rely on caricature alone, and that intention was certainly evident, particularly in the more nuanced work of the principal cast. Musical Director, Adrian Reed, had clearly worked closely with the company to bring out the best in the vocal performances, supporting the principals in delivering confident, well-judged musical moments throughout. Assistant Director and choreographer, Clare Allen-Evans, also deserves praise for her inventive and energetic choreography, working with a strong dance troupe to create several memorable sequences. The ‘Duloc Dancers’ were a particular highlight, as was the imaginative use of movement in the ‘Travel Song,’ featuring the charming visual of the dancing trees. The tap-dancing rats - first teasingly revealed on tap shoes under a slightly raised curtain - were a very clever touch that paid off well, while Lucy Potter’s silhouetted performance, dancing in a hazy, spotlit scene throughout ‘When Words Fail’, provided a striking and atmospheric moment.

The set design by Christian Slingsby and Teigh-Anne Shave was simple but effective, with most scenes played out in front of a basic castle or woodland backdrop that served the production well throughout. The well-constructed raised platform added an additional level for staging and the castle walls opening to reveal Fiona’s room was a nice touch. The two trees were realistic and of good quality and helped lift look of the woodland scenes. Scene changes were generally swift and efficient, maintaining pace and momentum, although the decision to keep the stage lit as cloths and set pieces were flown out was, for me, slightly distracting and gave a somewhat untidy impression - though this is very much a matter of personal preference. Props were, on the whole, appropriate and well selected, supporting the storytelling without drawing undue attention. The puppets - Gingerbread Man, the Dragon and the Bluebird all had strong visual quality and made a real impact on stage. The puppetry itself was generally well attempted, particularly in the Dragon, where the mouth and head were animated effectively, although the legs lacked a little life and could have been more fully integrated into the movement. At times, parts of the puppeteer operating the Bluebird were visible within the wings, which slightly reduced the illusion, but overall, these elements added an engaging and ambitious layer to the production.

The lighting design by Jenny Cartwright, Clare Allen-Evans and Arts Losevs was excellent, with a wealth of thoughtful moments that significantly enhanced the storytelling and visual impact of the production. The guards’ sequence bathed in blue light created a striking visual atmosphere, while the use of red and blue tones to complement the costumes of the Duloc Dancers added vibrancy and cohesion to the staging. A green mirror ball effect in ‘Morning Person’ was a particularly effective touch, subtly hinting at Fiona’s transformation and inner identity, and the gradual, understated lighting shifts used to suggest approaching dusk were also handled with real finesse. Sound, whilst generally good, was not quite as consistently strong. There were no major jarring issues, but occasional crackling from head mics and the odd unamplified vocal moment were noticeable. The main area for improvement was mic balance, which at times felt uneven across the cast - some performers could have benefited from a slight lift, while others, particularly those with naturally powerful voices such as Aaron Carpenter as Donkey, might have been brought back in the mix to achieve better overall balance.

The costumes, hired from Charades Theatricals and organised, fitted and maintained by Rachael Hockmeyer, were exceptional and arguably the crowning glory of the production’s overall visual design. There were so many standout looks on stage, each carefully realised and full of character, helping to establish the world of the show in vivid and imaginative detail. Particular favourites included the Fairy Godmother’s dress of purple petals, beautifully complemented by a cerise “whipped cream” wig; the Mad Hatter’s willow-patterned suit; the Three Bears in their charming patchwork fur outfits; Peter Pan’s tunic of leaves, finished with an autumnal red quiff wig; and the Three Blind Mice backing dancers, all of whom looked fabulous and well-considered in design. Make-up, by Jasmin Slingsby and Rosie Must, was generally effective, particularly in Shrek’s prosthetics, which worked well under stage lighting and held up convincingly throughout. However, a few areas could have benefited from additional refinement, with some neck lines needing more blending, and Fiona’s green make-up appearing slightly patchy at times, understandable given the quick changes but still noticeable. Donkey’s make-up design may have benefitted from development; it was unfortunate that Aaron Carpenter’s natural ears were visible, which slightly undermined the illusion of the character’s donkey ears placed higher on the head. It also felt as though a little more structural emphasis in the muzzle area, similar to the effective treatment of the Three Pigs’ snouts, might have strengthened the overall look.

In conclusion, sincere thanks must go to Jenny, Clare, Adrian and stage managers, Kip Barrs and Christian Slingsby, for what was a truly fun and thoroughly enjoyable evening of entertainment. The production was uplifting, colourful, vibrant and fast-paced throughout, with a clear sense that the performers were genuinely having a wonderful time on stage - and that energy proved infectious, carrying through to the audience. It was also a strong example of community theatre at its best: a large group of people coming together to create something imaginative, ambitious and full of creative spirit. The overall result was a production brimming with enthusiasm, teamwork and shared passion for musical theatre. Most importantly, it left me with a genuine sense of warmth and enjoyment, and a reminder of just how special live amateur theatre can be when it is made with this much commitment and heart.

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