Appropriate, easy to follow and enormously entertaining, Shrek The Musical is perhaps the easiest recommendation for a night out in Birmingham that anyone could give over the Easter period.
It would be hard to feel apathetic, seeing that it bears such comedic and visual enchantments which make it almost impossible to dislike. There is—to use an over-used phrase—something for everyone here. There are a lot of laughs and a lot of silliness, but also a love story between Shrek (Dean Chisnall) and Fiona (Faye Brooks) and some emotional beats that surprise in their truth.
This is a show that bursts with colour, not only in its set design and props, but in its cast of characters, which include everyone from the Fairy Godmother to the Three (Large) Little Pigs. Our leads are a giant green ogre, an indomitable flame-haired princess, a talking grey donkey, a bejewelled nobleman of short stature with dainty yellow legs, as well as a gloriously carmine dragon—and we love them all.
Young Shrek and Young Fiona were both sent away from their parents at the age of 7, she to live alone in a small room at the top of the tallest tower in a castle guarded by a dragon and surrounded by a lake of hot magma, he to live alone and fend for himself in a swamp. He later is sent to rescue her by Lord Farquaad (an outstandingly and hilariously repugnant Gerard Carey) who wishes to have her hand in marriage.
Their awful childhoods provide the basis for one of the most charming songs of the night, I Think I Got You Beat, where a little country swagger enters Brookes’ performance and the giddily combative nature of Shrek and Fiona’s relationship is set up. Chisnall and Brooks sell us their chemistry very quickly. It is a shame that Chisnall is not able to render the bond between Shrek and Donkey (Idriss Kargbo) similarly unaffected and lived-in.
The flatulence and wind jokes are to be expected; the younger members of the audience roar at such moments. However, what made the original film—and its sequels—such a success is the astute interpretation of old fairy-tales in new contexts, which is employed in full force here too. Each minor character has his or her moment to play with our expectations. This subversive edge is important. It enables the show to feel contemporary without losing any of its timelessness.
Go and see this show. If a friend is going this Easter weekend and you are not, prepare to be green with envy. There are too many fantastic moments to list, but tell them to keep an eye out for the scorching hot singing chops on the Dragon (Candace Furbert) and Fiona’s duet with a little birdie. ★★★★☆ Will Amott 02/04/15
