Book and Lyrics by David Lindsay-Abaire

Music by Jeanine Tesori

Directed by Samuel Holmes and Nick Winston

Tickets from £23.50

A long time ago, in an age of Hearsay, spaghetti straps, boy wizards, Bridget’s granny pants, and spray tans, there was a fairy tale which broke the mould: With its satire, gross-out humour, lampooning of treasured stories, and a protagonist that didn’t quite fit that Disney aesthetic, DreamWorks‘ Shrek (2001) revolutionised the way audiences saw Western animation – so, it wasn’t long before it made its stage debut.

Shrek, musical or otherwise, has always excelled with its humour and shift from the traditional fairytale where the Ogre saves the Princess to reclaim his swamp and where true love’s beauty isn’t as distinctly clear as it has been for generations of Cinderella and Sleeping Beauty fans. With a new tour and look, Shrek the Musical returns to stages to spread an enchantment of a now very familiar and popular story – but might have lost a bit of that fairy dust along the way. 

The stage certainly looks the part, as the show embraces the growing trend of projected back-drops, dotted with physical set dressings to offer a sense of scale and dimension. It isn’t always as mind-blowing as it could be – the sense of scale for the castle of Duloc or the fiery keep of the dragons keep losing a bit of their grandeur despite Philip Witcomb’s design work. But the gnarled vines and thorns, silhouette and wrapping around two arches which cover the stage do frame the show nicely – and where ends have been cut for the staging, Witcomb’s costume work (and Jimmy Grimes puppet design) works an absolute treat, especially for the leads and ensemble roles of Pinocchio and Dragon.

Fitting the green ears comfortably, Anthony Lawrence’s leading presence shines through the more reserved Shrek – his ogreish howls and antics downplayed somewhat. But their comradery with Brandon Lee Sears (Donkey) and Joanne Clifton (Princess Fiona) secures Lawrence’s role with whimsy and enjoyment, their often-dry delivery working much better than the sometimes-overplayed grunts. But for comedy, one only needs to look to Lee Sears’ Donkey – the absolute star of the script’s writing. Natural, authentic, and hitting the film’s most memorable beats while bringing their own presence, Lee Sears is without question one of the biggest highlights of the show.

Drawing the short straw (pun certainly intended), Lord Farquaad receives much of the production’s shift in tone – with the removal of much of the overtly stereotypical humour and gags attached to the character’s stature, including the original use of knee-height performance with safety pads and rollers. And despite their best efforts, James Gillan isn’t left with much to chew on as the power-hungry villain, the changes in the script leaving a void for the character to stretch their comedic muscles and match the remainder of the bonkers cast. Their infamous scene with Gingy (played marvellously by gift-singer Georgie Buckland) still brings that satisfactory bite. 

Vocally, Cheree Richards’ performance as Dragon, the fiery captor of Princess Fiona turned lover of our four-legged loud-mouth friend, is exceptional – pitched without stress and filling the entire Edinburgh Playhouse space with beaming grins and cheers. Absolutely earning their standing ovation, Joanne Clifton’s Princess Fiona has all the grit and attitude one could hope for while maintaining an earnest sense of performance and character – a genuine joy to watch with manic expressions, they lead strong numbers to showcase Jeanine Tesori’s score – and bring life to Nick Winston’s choreography.

Campery runs rich throughout Shrek, keeping the magic of the original fairytale – but with a touch less belief and sparkle than the touring production has been known for. With a subdued sense of humour to accommodate audiences, the edge of Shrek is replaced with something a touch more conforming, though rightly enjoyable. Bouncing, beaming, and a guaranteed joyful experience for the entire family – Shrek finds itself safely in the swampy hearts of many.

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