Shrek the Musical

After opening almost a year ago at the Theatre Royal Drury Lane Shrek the Musical has been happily pleasing families, filling an excellent gap in the market for a fun, colourful and familiar show that appeals to both adults and children alike. Keen to recreate the magic of Disney on Broadway, producers Dreamworks brought the giant ogre to the Broadway stage back in 2009, where it enjoyed mixed reviews, closing a year later to embark on a successful US tour. Having seen the Broadway production with both Sutton Foster and Brian D’Arcy James I was initially hesitant to see the UK version, but found myself pleasantly surprised, despite the show losing some of its Broadway razz-ma-tazz somewhere over the Atlantic.

Based on the original film, the musical follows the story very closely, recreating jokes, songs and characters that have since spawned a billion dollar worldwide franchise. A Princess in a tower is rescued not by a Knight in shining armour, but by a green Ogre and his sidekick Donkey as our hero fights to reclaim his corner of the sky which has been cruelly taken from him my the pint-sized Lord Farquaad and cast of fairy tale creatures. A moral adventure story ensues, teaching children (amongst other things) that true beauty is on the inside and farts and burps can both be incorporated into a musical theatre score. Jeanine Tesori’s score is eclectic and at times hilarious, with casual jibes poked at other musicals such as Gyspy, Wicked and Les Miserables proving, as did the film, that honest humour works, and the ability to poke fun at your own genre makes for fantastic entertainment. Rob Ashford’s direction works in most places, but lacks enough comic potential, missing many key opportunities. Tim Hatley’s designs fare badly in comparison to the Broadway production, evoking the more British tradition of Panto rather than a blockbuster musical.

Nigel Harman shines as the lovable Ogre, carrying much of the show physically and vocally, although his resonance is sadly not tested in the cut Act Two number ‘Build a Wall’. Girls Aloud star Kimberly Walsh proves to be a moderate leading lady, although her thin vocals don’t quite match the belts intend for the character and at times she verges too far to cute rather than feisty. Richard Blackwood gives a horrendous performance as Donkey, failing to inject any humour or personality into the ready made part. Rather than embody the character he looks like a bloke in a Donkey costumes and is a real weak link in an otherwise strong ensemble. Thankfully the producers seemed to think the same of his vocal ability, cutting a number of his songs to accommodate his range.

The audience rose to their feet in admiration of the show, even joining in for the encore. As far as fun shows go, Shrek is tight, slick and a lot classier than Lord Lloyd Webber’s current offering at the Palladium. Whilst it is always great to see children enjoying themselves at the theatre, it should also be remembered that others around them have paid a lot of money for their tickets. Shrek is a perfect show for children to enjoy, but surely it can be used to teach them to sit still, watch and enjoy...?

Where I sat: Stalls row D8. Excellent seats, a little bit to one side of the auditorium but it didn't matter overall.

Recommended: For a fun night out or easy introduction to the theatre. Family friendly.