Shrek The Musical

District 4's 2026-2027 started with a bang with a trip to Dryburn Theatrical Workshop’s 100th production of Shrek the Musical, which was a vibrant, uplifting and thoroughly entertaining evening of musical theatre, full of warmth, humour and heart and a spectacle I truly hope they are all immensely proud of. They took the audience into their “Big Bright Beautiful World” and we loved it! It is an incredible achievement to perform 100 productions and especially in the 25th anniversary year of the animated move.

Shrek has such a gorgeous story behind it, of love in unexpected places, acceptance, friendship and being proud of you are which encompasses Dryburn’s “family feel” to it and for me a perfect choice for them.

From the moment the curtain parted, the company created a splendid colourful fairytale world that captured the spirit of the show and drew the audience into Shrek’s journey with ease. The production had a lovely positive sense of energy and confidence throughout, and it was clear that a great deal of thought, care, love and enthusiasm had gone into bringing this well-loved musical to the stage.  The energy was able to be felt from the stage and it was stunning from start to finish in every way possible.

At the centre of the production was another excellent performance from Joe Coulson as Shrek. He gave a beautifully judged portrayal, balancing Shrek’s gruff exterior with the character’s vulnerability and warmth, and he sustained that characterisation consistently throughout.  Not a slip from the accent was detected throughout and performing in the heat under all that make up and padding is no mean feat.  Joe you were spectacular!  “Build a Wall” was a particular highlight for me; your vocal delivery was utterly wonderful.  Erin Stabler was superb as Donkey, bringing boundless energy, comic timing and a real sparkle to every scene in which she appeared.  The songs are written for a much lower tone and Erin did very well to perform as she did, and her energy and versatility are really on another level, especially in that costume!  Her endless tigger like bouncing in the final numbers were a particular highlight.  Phil Stabler gave a thoroughly brilliant performance as Lord Farquaad, relishing the comedy of the role and delivering it with strong stage presence and confidence especially given he was on his knees throughout.  His characterisation was simply superb, having the audience regularly in stitches including announcing the horse as “Helen Neigh-braham” which absolutely cracked me up!  Top class Phil!  Emma Coulson was excellent as Fiona, combining strong vocals, charm and a spirited sense of fun, while also revealing the character’s emotional depth with a wonderful performance of “Morning Person” with tap dancing rats which was my personal highlight. Young Fiona played by Amy Hibbits and Teen Fiona played by Willow Horrocks were a delight in “I Know it’s Today”.  Around these principals was an huge strong ensemble who worked tirelessly to create the many fairytale worlds of the piece, contributing strong vocals, animation and character work that added richness and momentum to the production as a whole. I’ve never seen as many costume changes in any one production I don’t think with each character superbly decked out from top to toe – and yes I did notice the little details such as appropriate footwear and matching tights.  Little details that really makes the piece stand out and gives any production the edge.

Frances Wood as the Dragon, was utterly incredible.  Powerful vocals, commanding stage presence and of course a huge mechanical dragon with CO2 cannisters just set the visual apart but what a powerhouse of a vocal performance from Frances! She looked utterly stunning and gave a performance that won’t be forgotten easily.  Abbey Rutherford as Pinocchio was wonderful, providing a captivating and charming performance of the “real boy” and Gingy/Sugar Plum Fairy played by Victoria Jackson was gorgeous, beautifully poised and gave a wonderful performance which we all warmed to.

Ensemble were incredible throughout and “Freak Flag” for me was a highlight; a fabulous big brash number especially poignant during Pride month being such an anthem of self acceptance and empowerment encouraging our differences to be embraced and unity against oppression.  All of you were absolutely incredible.

Visually, this was a production full of colour and imagination. The staging made excellent use of the performance space, creating a sequence of lively and recognisable locations that helped the story flow clearly and effectively.  There was so many really large set pieces, yet it moved seamlessly, with little delay and kudos must be given to stage manager Paul Scott and his team of volunteer crew who worked so hard to make sure the production ran seamlessly. The colour palette was bright and appealing, perfectly suited to the playful and fantastical nature of the show, and this sense of visual variety helped keep the audience fully engaged.  The costumes were exceptional from top to toe, with ever changing make up especially for the charming ensemble playing multiple roles and were always fully kitted out beautifully.  Well done to Scott Allenby and the Swamp Squad for the cast make up, that must have been a feat in itself to stay on top of.  Stage lighting and sound by Hi-Lights was consistently exceptional with real thought being given to the colour, dimension and palette by Martin Warden and Craig Holt.  The overall stage picture was consistently attractive, with scenes well composed and a pleasing balance between principal action and ensemble movement.

The incredible and detailed direction by Michelle Coulson ensured that the show moved at a strong pace, the humour landed well, while still allowing the more heartfelt moments to register. Character relationships were clearly established, and the storytelling remained focused and accessible throughout.  Every little detail seemed to have been considered.  Technically, the production was very well supported. Lighting, sound and backstage coordination all contributed to the smooth running of the performance and helped enhance the atmosphere of each scene. These technical elements worked in harmony with the performances and staging to support the production without ever overwhelming it, which is always the sign of a well-considered technical team. Rhys Chambers and his 11 piece orchestra complimented the cast beautifully, never overpowering and the work into the vocal performances shone through.  Rebecca Scott as choreographer did sterling work in creating some beautiful pieces of performance which audiences loved, especially the very clever moments such as in “What’s up Duloc” making the most of Farquaad’s height impediment, with Jack Hindmarch supporting with the Morning Person tap choreography.

They say it takes a village and a show of this magnitude is certainly a reflection of that.  My apologies to those not personally mentioned, but please be proud of all your contributed to creating this utterly wonderful world that you have taken your audiences to on well deserved sell out performances.

This was a highly enjoyable and polished production from Dryburn Theatrical Workshop, full of personality, commitment and clear affection for the material. With excellent leading performances, an impressive ensemble, colourful staging, thoughtful direction and strong technical support, this Shrek the Musical was a great success and one that the company should be very proud of.

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