Shrek, The Musical
Based on the DreamWorks Animation Motion Picture and the book by William Steig
Book and Lyrics by: David Lindsay-Abaire
Music by: Jeanine Tesori
Directed by: Laura Jennings
Music Directed by: Molly Robinson
Produced by: The Firehouse Theatre
Audience Rating: PG
Running Time: 2 hours, 20 minutes, including one 15-minute intermission
Accessible Seating: Available
Hearing Devices: Not Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Loud at Times
Audio/Visuals to prepare for: Suggestive Adult Themes, Loud and Sudden Noises
Reviewed by Troy D. Murray
Nothing inspires a true sense of patriotic pride on the Fourth of July quite like spending it in a swamp with a big green ogre. Although my last encounter with a separate staging of Shrek The Musical left a very sour taste in my mouth, I am absolutely delighted to report that this run thoroughly renewed my love for the franchise and this wonderful story.
Director Laura Jennings does a fabulous job casting this vibrant ensemble of quirky characters and larger-than-life fairy-tale creatures. It is evident through the performance alone that this cast gels exceptionally well, and nothing makes me feel more at home than a genuine feeling of camaraderie radiating across an entire company. It is entirely fair to say that after watching this stellar group in action, "I’m a Believer" in Jennings’ directing process.
Choreographer April Rose Bourg accomplishes something I sincerely wish was done more frequently throughout the Dallas theater scene. All of her choreography is beautifully simple by nature, yet profoundly effective. The movements are crisp, clear, and allow the case to shine together, rather than flounder as individuals. I must extend special praise to her vision for the staging of “Morning Person,” as that tap routine stands out as one of the cleanest sequences I’ve seen and heard in a very long time.
Music Director Molly Robinson does an effective job of making the ensemble feel full and harmonious throughout. Group numbers like “Freak Flag” showcase her meticulous attention to company dynamics, and the intricate harmony accompaniments in numbers like “Make a Move” demonstrate her craft in bringing out the small, yet crucial, details within the music composition.
The technical elements of this production are delightfully implemented. Logan Uhtenwoldt (Scenic Design and Build) provides a clever yet practical set design, featuring pop-out tiles and vibrant LED framings that maximize the visual impact of the show's puppetry elements. The environment is beautifully elevated by the atmospheric choices of Hank Baldree (Lighting Design), whose illumination inside the castle and across the treacherous rickety bridge adds wonderful dramatic tension. Sound Designer Leo Thomas establishes an excellent auditory balance across the theater, though the mixing is slightly variable at certain intervals. Finally, Costume Designer Caitlin Rodda does a stupendous job outfitting the company with incredibly detailed garments. From the cleverly crafted lower-half illusion for Lord Farquaad, to the many standout accessories within the fairy tale creature ensemble, it is evident a lot of time, thought, and effort went into her creative vision. A particular highlight of her work is Pinocchio’s brilliantly engineered nose apparatus that realistically extends and retracts on command.
The untiring ensemble of this production runs what can only be described as a literal marathon. Their incredible versatility and wherewithal drive them from start to finish as they change from fairy-tale creatures to Duloc guards and dancers, and then to prisoners and skeletons, all within the span of just one act alone. In the midst of all these rapid quick changes, they still manage to fire off on all creative cylinders. For instance, their vocal work is demonstrated prominently by ensemble members like Emily Fabrega and Olivia Goodspeed, whose “Freak Flag” solos truly brought the swamp down. Their dance prowess is equally formidable, as shown by members like Alina Jennings and Nikki Kimbrell, who showcase the perfect combination of fluid movement and expressive facial expressions. Special shoutouts go to Jackson Tapp as a member of the little pig trio, as his German accent is one of the best I’ve ever heard, and Music Captain Jason Philip Solís, whose sharp comedic wit never ceases to entertain.
At the forefront of this lively group are Preston Isham as Pinocchio and Caitlin Martelle as Gingy. Preston Isham beautifully flexes his impressive falsetto range as the wooden boy and shows wonderful dance ability later as the Pied Piper. Caitlin Martelle shows extraordinary creative devotion to this production, contributing not just as an actress, but also pulling triple duty as the show’s Dance Captain and Puppet Designer. Together, they possess incredible onstage chemistry and share several clever bits throughout that make for a good laugh.
As Dragon, Lily Michelle completely floors me with her breathtaking depiction. Not only does her vocal range soar magnificently in “Forever,” almost as high as the incredible leverage she gets in those striking stilettos, but she perfectly balances her intimidation factor with her more sentimental side. When you add in the fact that her makeup design is as bold and fierce as she is, it is fair to say that Michelle is a living dynamo of a performer.
The younger iterations of the princess, played by Noa Sophia Burch and Megan Lagemann, are excellent in their portrayals. Noa Sophia Burch (Young Fiona) has a wonderful voice and truly carries her own within the ensemble, portraying a wide range of characters from Baby Bear to Puss in Boots. Meanwhile, Megan Lagemann (Teen Fiona) makes great use of the environment she performs in. The intense power behind her voice and her impressive comedic chops are on full display, giving true clarity to Fiona’s more angsty time locked away in the tower.
What is a true hero without his noble steed? Donkey is brought to life by Dominick Jenkins, who delivers a wonderful breath of fresh air to this beloved comedic sidekick. Not only does he do a fabulous job making the character entirely his own, but his vocal ability and suave dance style in numbers like “Don’t Let Me Go” and "Make a Move" incited several ‘ooos’ and ‘wows’ from the audience. I only wish that his microphone cooperated more with him, as there were some moments I had to strain to hear his wonderful creative contributions.
The sheer artistic genius of Austin Bender-Davis as Lord Farquaad is truly one that cannot be missed. Aside from the easiest irony that the tallest member of the company plays the shortest role, Bender-Davis is cheeky, silly, smug, and everything you could ever want in a petite antagonist. His renditions of “What’s Up, Duloc?” and “The Ballad of Farquaad” demonstrate his deep comedic kinship and surprising vocal ability while constantly kneeling. Without giving anything away, I have never laughed harder watching a show than seeing Farquaad’s version of “Dollhouse Drama”. That brilliant bit alone deserves the price of admission, without a doubt.
Hailey Hatfield (Fiona) is a fairy-tale princess in every sense of the word. Having seen her countless times in the ensemble of numerous regional shows, nothing brought me more joy than seeing her take the center spotlight in this production. She shows off her superb acting ability in “This is How a Dream Comes True” and vocally takes us to the moon in "Morning Person". Not only is she a true master of her craft when it comes to singing, dancing, facials, and comedic timing, but she has a uniquely creative ability to snap instantly between emotions and character motivations, all while remaining believable. Her performance significantly elevates every scene without ever overshadowing her castmates, a quality that, to me, represents a true sign of theatrical mastery.
The title ogre is portrayed brilliantly by the phenomenal Blake Rice. As Shrek, Rice puts on a literal master class on how to bring a larger-than-life character to life with authentic humanity. His Scottish accent is meticulously polished, his character work is frightening and tear-inducing in equal parts, and his sheer presence onstage is one to behold in genuine awe. His renditions of “Big Bright Beautiful World” and “Who I’d Be” showcase his wonderful execution of both comedy and drama, but nothing jolts the audience to their feet quite like his powerful delivery and emotional expression in “Build a Wall”. Blake Rice has always been leading man material in my eyes, and his performance in this show only solidifies my belief that any director in the community is lucky to have him as a member of their cast.
Those looking to see this sensational production better do so before the storybook closes on Sunday, July 12th. Missing out on such a magical theatrical experience would be a true heartbreak for any fan of the franchise. Tickets to the swamp can be acquired by visiting https://thefirehousetheatre.com.
Now you know, so go see the show!
Troy
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