Shrek The Musical

When Shrek, the Musical, was announced as the 2024, 20^th anniversary Old Nick Summer School production, a ripple of disaffection went through the community of aspiring actors. A fairy tale? A kids show? Shrek, The Musical, is none of these. This is a well written, well-orchestrated and relevant show, with many interesting and challenging roles for performers.

The music is not that of the film, with a couple of notable exceptions – Neil Diamond’s “I’m a Believer” and the Duloc song. It is eclectic. “Don’t let me go” is evocative of “Take me or Leave me” from Rent. The travel song is reminiscent of “Movin’ Right Along” from The Muppet Movie. There is Motown, gospel, jazz, rap and Fosse-esque production numbers. The tango moment in “Only Hope”, featuring the wolf, recalls “Roxanne” from Shrek 2. The one obvious reference to Wicked reminds the audience of the work of Stephen Schwartz. There is an homage to Tchaikovsky. The score feels familiar but is both original and reliant on what has come before.

Under Andrew Castles’ direction, the band is, as usual, exceptional. The brass and guitar have notable moments, but the piccolo is particularly impressive.

Visually, the show is stunning. The facilities at the Don Bosco PAC seem to have given greater scope for the creative team. Gareth Kays effects clever Fiona transformations with light. Day becoming evening then night is a transition that assumes great significance during the wedding scene and is beautifully done.

There are large and smaller set pieces, but much is able to be flown at the new venue. The bridge to Fiona’s castle is a dazzling coalescence of light, design and functionality by Chris Oakley.

Costumes by Helen Cronin are outstanding and numerous. Actors play many characters – Farquaad’s army, Duloc residents, dancing rats and named, individualised, fairy-tale creatures. The multiples of ensemble costumes are augmented by hats, wigs and ears. Then there are the speciality items – Lord Farquaad’s unique outfit, Fiona’s ogre get up, Gingy’s torture baking sheet, Donkey, The Mad Hatter and Pinocchio - to name a few.

Costume and puppetry intersect. Gingy (the Gingerbread cookie) has two incarnations and is beautifully voiced and manipulated by Lucy Lewnicamp. As well as Gingy, Cronin is responsible for many smaller devices such as the exploding bird, but, notably, the enormous Dragon puppet. Sparkly and pink, with lusciously charming eyes, Dragon is manipulated by several puppeteers and powerfully voiced, on alternating nights, by Harriet Gould and Chloe Sloane. Helen Cronin is little short of a genius. She is one member of the exceptional team of professionals espousing high artistic values, supporting the performers.

Oliver Thomas and Lachlan Browne are equally good embodiments of Shrek. They nail the accent, physicalise the role and deliver both comedy and pathos. Sophie Cashion and Cecilia Hutchinson give very mature performances of Fiona. Both are feisty and quirky, comfortable on stage and vocally strong. They deliver the emotion of I know it’s today (in beautiful harmony with young and teen Fiona, variously, Calliope Xintavelonis, Esther Walsh, and Sally Quinn) and belt out the energetic I think I got you beat. Farting and belching rhythmically is a skill worthy of a resume. Cashion is only 16 and Hutchinson, not much older, is well esteemed, but both have the stage presence of professionals.

Donkey is given athletically and energetically by Kaiki Massom and Lexie Lethborg. The tessitura of the part is better suited to fast talking Massom but Lethborg is the more endearing and she augments the choreography. The irritating Eddie Murphy iteration is one of many well-executed and diverse accents utilised.

Lord Farquaad is a physically demanding role that is relished by Tommy Howard and Joseph Mione. Farquaad’s two songs are showstoppers, in which characterisation and comedic skill are much in evidence.

The ensemble is uniformly strong, both vocally and in dance. The choreography by Kristy Baker is commendably interesting and original. The most is made of the less skilled dancers whilst highlighting featured performers. Every member of the ensemble contributes with individualised characterisation, but Olivia Goerss is worthy of mention. Hers is the beautiful voice of Shrek’s mother and the Sugar Plum Fairy.  Joshua Skelley and Cliff Giddings also sing well and the harmonies of the three blind mice - Lola Lester, Sally Quinn and Lexie Johnson – are commendable. Other highly capable talents – some of whom have shone is lead roles previously -give their best in the ensemble. The cast is supported by excellent sound design and the show is fully mic’ed.

Shrek, The Musical, was the right show for the 20^th anniversary Summer School.  Anyone who has ever dreamt of a different world or longed to find their place in it will find themselves somewhere on stage. This production is absolutely delightful.

Anne Blythe-Cooper

Photographer: Jacquie Coad