Shrek The Musical

‘A modern fairy tale with attitude’: SHREK THE MUSICAL (Online review)

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A musical involving fairy tale characters seemed a highly appropriate choice for over the holidays, but as it doesn’t hurt to have a bit of grit in that particular oyster, Shrek: The Musical seemed like it might provide a winning combination.

I’ve always quite admired the way the Shrek franchise opts for a modern-day spin on the traditional form, undermining expectations and undercutting some of the more winsome aspects with one-liners and witty put-downs. It all works well as an animated cartoon, but does it do the same in a live stage version? Simply put, both yes and no.

The storyline and the characters are the familiar ones from the first film with green-skinned, Caledonian-toned ogre Shrek embarking on a quest to rescue Princess Fiona. Not because he’s any sort of hero himself, of course, but because it’s the only way he can get repossession of his swamp from a group of enforced refugee fairy tale characters who have invaded his solitude – Shrek is a strong believer in social distancing.

The villainous and incredibly short Lord Farquaad needs to marry a princess in order to claim kingship of the land of Duloc and gets Shrek to do the deed accompanied by the wisecracking Donkey. As tradition demands, there are perils to overcome – a dragon to fight, a tall tower to scale and a damsel to rescue from an imposed lockdown –  not to mention dealing with a plethora of bodily odours.

But more importantly, there’s prejudice to combat and self-belief to cultivate. This may not be Disney but there are still important lessons to be learned by the characters and, by extension, the audience. Interestingly Shrek/Fiona/Farquaad are all given back stories which show they are linked by abandonment issues in early life. As that’s a constant trope in a lot of fairy tales (cf Snow WhiteCinderellaHansel and Gretel) this works on more than one level.

 

‘A modern fairy tale with attitude’: @JohnChapman398 catches up with the Broadway production of #ShrekTheMusical, now available #ondemand. It’s led by @briandarcyjames & the ‘undoubted star’ #SuttonFoster. #theatrereviews #onlinetheatre

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John Chapman
John Chapman works as a freelance education consultant, writer and copy editor. Prior to this, he was an Assistant Headteacher specialising in English and Drama. John first took to the stage as a schoolboy pretending to be a Latin frog. Decades later, he has been involved with 150+ productions, usually as an actor or director. He is currently a member of Tower Theatre in Stoke Newington, London. In 2016, he was in their “mechanicals” team that worked as part of the Royal Shakespeare Company’s A Midsummer Night's Dream: A Play For The Nation, appearing both at the Barbican and in Stratford-upon-Avon. In 2004, he served as a panellist on the Olivier Awards; he is currently an Offies assessor. He reviews for a variety of websites, writes his own independent blog 2ndFromBottom about his theatrical life.
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John Chapman on RssJohn Chapman on Twitter
John Chapman
John Chapman works as a freelance education consultant, writer and copy editor. Prior to this, he was an Assistant Headteacher specialising in English and Drama. John first took to the stage as a schoolboy pretending to be a Latin frog. Decades later, he has been involved with 150+ productions, usually as an actor or director. He is currently a member of Tower Theatre in Stoke Newington, London. In 2016, he was in their “mechanicals” team that worked as part of the Royal Shakespeare Company’s A Midsummer Night's Dream: A Play For The Nation, appearing both at the Barbican and in Stratford-upon-Avon. In 2004, he served as a panellist on the Olivier Awards; he is currently an Offies assessor. He reviews for a variety of websites, writes his own independent blog 2ndFromBottom about his theatrical life.

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