Theatre Review: Shrek: The Musical

©2010 DreamWorks Theatricals (Joan Marcus)

Pictured: Eric Petersen (Shrek)

PNC Broadway in Louisville is wrapping the 2010-11 season with Shrek, the musical, an irreverant blockbuster sure to entertain all ages. Fans of the 2001 film will enjoy hearing their favorite lines again, and the story remains essentially the same, but with the musical version creators David Lindsay-Abaire (Book & Lyrics) and Jeanine Tesori (Music) have updated this already modern fairy tale as an irreverant comment on tolerance and acceptance. Don’t let that scare you. While the message is as pungent as an ogre’s gym socks it never overpowers the story.

Telling the tale this week at the Kentucky Center for the Arts is a young, talented and energetic cast able to maintain their enthusiasm even as they look forward to the conclusion next month of Shrek’s year-long American tour. The company is led by Eric Peterson in the eponymous role of an ogre who apparently loves his solitary life in the swamp, fighting to regain his solitude after Lord Farquaad, played by David F.M. Vaughn, banishes all of the storybook creatures of  Duloc to his boggy budoir. Duloc is a lot like Disneyland, complete with a castle and uniformed dancers who smile and wave as if their lives depend on it—which they do. The name of the town is thought to be a nod by the film’s producers to their university Notre Dame de Lac. The musical also pays homage to a number of popular Broadway shows pop-culture idioms. 

Shrek, The Musical  also gives us insights into the main characters through songs that tell the personal histories of Shrek, Princess Fiona, Donkey, Lord Farquaad, and the Dragon.  It may have been the sound system or my aging ears, but some dialogue was difficult to understand, especially  during the big production numbers. If you have any hearing issues I urge you to pick up one of the infrared sound enhancement devices supplied free-of-charge by the Kentucky Center.

©2010 DreamWorks Theatricals (Joan Marcus)

Pictured: David F.M. Vaughn (Farquaad), “Gingy”
and Keven Quillon (Guard).

As befits a Broadway production of this calibre the creative team has made use of a wide-range of contemporary storytelling devices that include the use of a giant, articulated Dragon puppet. I applaud the producers for their tongue-in-cheek approach to design that gives the audience credit enough to be in on some of the jokes rather than spending inordinate amounts of time trying to hide the obvious. Their lower tech solitutions such as the rodentia frug in Act II set a wonderfully intimate tone . I am particularly grateful that no one attempted to muzzle Alan Mingo, Jr., as Donkey in a latex proboscis. His characterization and vocal expressions were excellent and masterfully conveyed the character.

That being said Peterson seemed not at all inhibited by the makeup required to turn him into a hulking, green monster and Vaughn clearly reveled in the possibilites offered by the prostethics to put his comic villian Farquuad over the top. Say Farquaad five time, fast.

One of the best numbers in the show is the 11 o’clock number "Freak Flag" performed by the ensemble in their roles as storybook creatures. Led by Blakely Slaybaugh as the increasingly militant and slightly delusional Pinnochio (sans cricket), and featuring Louisville’s own Sarah Peak as the Ugly Duckling, it is an irreverant take on the nature of fairy tales and the rigours of living up to society’s expectations.

Shrek: The Musical operates on multiple levels with plenty of fart jokes for the under-13 set (and guys) and a larger message that will give adults something to think about while laughing at the fart jokes. 

The PNC Bank Broadway in Louisville presentation of Shrek: The Musical continues through Sunday, June 12, 2011 at the Kentucky Center for the Arts. Get your tickets at the box office: 502.584.7777 or www.KentuckyCenter.org.

The 2011-2012 season begins September 12--30 with the return of Wicked. Season ticket-holders will also have the best seats in the house for Fiddler on the Roof, Mary Poppins, Blue Man Group and Billy Elliot. For more on season tickets call 502.561.1003 or go to www.BroadwayAcrossAmerica.com. Current season ticket holders have until June 24, 2011 to retain your current seats or make exchanges before other orders are processed.

Do See "Zanna Don't." See?

"If musical theatre won't take on the important social and political questions of our day, then who will?" This question is indicative of the world created by Tim Acito to tell the story of Zanna and his friends. At Heartville High, and the world it inhabits, everyone is homosexual; from five-star generals to baristas. What may surprise some audience members who are not members of the GLBTQ community is how few things that actually changes. Because this story is told as a fairytale, Acito has introduced an element of magic into the storyline. Those elements aside the world goes on pretty much as you would expect. Regretfully prejudice and bigotry are alive and well: it is only the foci of fear and derision that change. The author underscores his point with a sophisticated twist ending, that may surprise you too.

Opening night performances are often long on adrenaline and short on preparation. While I saw plenty of the former the latter was not in evidence. Director Michael Drury and his cast have been rehearsing this show hard for weeks and their efforts are all on stage. Sure, some of the performances will be more fully realized when you see it; that is one of the many great things about live theatre. But, all the building blocks of a successful run were there on opening night.

One of the strengths of the play is Acito's broad musical capabilities that run from standard Broadway recitative to a Country-flavored patter song, to a moving and insightful quartet in the second act that briefly allows the underlying pathos of the story to surface. 

The producer's choice to add a live band to the production broadened the experience. Led by music director John Spencer on keyboard, the four-piece ensemble was flawless in its performance. Congratulations also to choreographer Frank Goodloe and costume designer Donna Lawrence-Downs for their light touches in adding elements that contributed to the storytelling without overwhelming it.

As Zanna Robbie Lewis's pantomime is exceptional and gives life to two props that become, in his hands, full characters. I may go back for the final performance to see how he has grown and refined the character. 

If there is a standout performance within this tight ensemble, however, it has to be Jill Sullivan's Roberta. Her commitment and fearlessness in delivering the sensuality of her character elevates the entire production. Keep an eye on Patrick Brophy too. His character Arvin has only a few moments in the spotlight but watch what he's doing in the shadows.

Cover from the Off-Broadway cast recording.
Pandora Productions show runs through May 29
Bingham Theatre @ ATL
For tickets and more info: 502.216.5502
PandoraProds.org

Pandora Productions's final show of the season is The New Century. Already in rehearsal the show runs June 16--26, 2011. The 2011/2012 season opens in September with Terrence McNally's a Man of No Importance. You will find more information about these shows and the upcoming season at www.PandoraProds.org. To get behind the scenes interviews and a deeper look at the works check in at www.Arts-Louisville.com.