Kate’s Score: 4 Green Ogres
For those who have lived under a rock and never heard of Shrek, it is a refreshing take on the fairytale genre with nodding refences to many of those tales. The story involves the ogre Shrek (in this musical version, Ben Mingay), rescuing Princess Fiona (Lucy Durack) with the help of his sidekick Donkey (Nat Jobe) in order to save his swamp from the invasion of fairytale creatures banished there by Lord Farquaad (Todd McKenny); but there is a twist which plays on the concept of true love’s kiss and onions. The tale is set in a swamp and the kingdom of Duloc, where the ambitious and aspirational Lord Farquaad (with father issues) intends to marry a princess so that he can finally stand tall (in both senses of the word).
Shrek is possibly one of the most perfect stories ever written: the hero’s journey arc is exemplary and its appeal is universal for we all feel, to some degree, a little bit like Shrek – the feeling of not quite fitting in, of never being enough. And this is why Shrek is so endearing, because it celebrates the message that there is a little bit of “freak” in everyone and that beautiful is not always pretty.
So how could a musical possibly improve such an iconic, cherished film and advance the storyline? Well, it does not try but sensibly uses music to further explore themes of difference, acceptance and friendship. And, of course, true love. Regrettably, the songs are not catchy and will not survive outside the musical but in this particular case, it does not matter. It still finishes with Smash Mouth’s arrangement of I’m a Believer, so you leave dancing.
Ben Mingay has the title role and it is a tough gig. He has to act through a huge fat suit, a latex mask and layers of paint and at times, it defeats him. Shrek’s Scottish accent (so much a part of him) is inconsistent and he is obviously so uncomfortable trying to move that the characteristic charm which underpins Shrek’s nature is never established. We just didn’t come to see him as human and come to care to him, just a little.  Similarly, Nat Jobe seemed to have some struggles working his insufferably hot costume but his timing settled as the show progressed and the audience warmed to him. Lucy Durack embraced the woman that is Princess Fiona with joy, delighting the everyone with her real girl attitudes, her farting and burping and establishing a rapport with all the girls in the audience who cheered her on in a sort of Team Fiona roar of approval. A tap-dancing routine with rats furthered enchanted all.
The dragon was always going to be a challenge but thanks to the work of some excellent puppeteers and the soaring voice of Marcia Hines, she takes flight, batting her eyes at the hapless Donkey.
But the scene stealer is an on-his-knees Todd McKenny. From the moment Farquaad “walks” on stage, the energy lifts and the sense of fun is firmly in place.  His professional experience, ability and charm are evident in not only his physical feats but in his comic timing and adult innuendo. McKenny becomes the baddie we love to hate and his dance routine with his troupe of henchmen is the highlight of the show, leaving an audience in fits of appreciative laughter and awe of what this actor can achieve despite the imposed limitations.
A musical ain’t a musical without an ensemble and this particular lot knocked it out of the ball park. Every single member took the opportunity to establish an individual fairytale identity without ever losing sight of the need to work as a cohesive whole. Amusingly diverting were Suzanne Steel’s witch with an ocker accent and Caleb Vines’ Pinocchio, although it seems unfair to single out just a few for immediately other moments spring to mind, such as Manon Gunderson-Briggs doubling of Sugar Plum and Gingy and the multiple roles played with aplomb by all the ensemble. Faultless work under the direction of Luke Joslin and choreography of Christina D’Agostino.
Very much a family outing the musical offers something for all ages. It is important to keep in mind (and tell any children) that the musical is not the film. The storyline is close, and the only real miss for me was a lack of a burning bridge. It is pivotal moment in the storyline for it is at this point Shrek cannot go back, he has to move forward. And it could have been done easily, for the set (design Tim Hatley) relies heavily on video projections (Duncan McClean) and the inclusion of this illusion would have been a snap. It is an unfortunate oversight by David Lindsay-Abaire (book & lyrics) because it is so fundamentally important to the overall message.
A certain frog once sang “it’s not easy being green” and embracing the green is at the heart of Shrek. No matter how or why we might be different from anybody else, we should learn to love who we are and be proud of it.
Kate Stratford, Theatre Now
