July 2010 Theatre Review by Joe Stead
Shrek the Musical
To my benefit, I may be the only person in the western world who has not encountered "Shrek" in its original animated film version or either of its emerald colored sequels. And I'm glad. One of my gripes with the screen to stage transfers that now pop up in such alarming numbers is the over-familiarity with popular and even iconic subjects. Happily I had nothing to compare or lose in approaching this bright, colorful and thoroughly delightful tuner. I wasn't alone either in my enjoyment, as the vast majority of the opening night audience laughed, applauded and jumped to their feet as Broadway in Chicago launched the first National Touring company of "Shrek the Musical" at the Cadillac Palace Theatre.
For
once I am in complete agreement with the lyric that suggests classic
fairy tales need to be given fresh and updated points of view.
This Dreamworks Theatricals production actually bests its competitor
Disney, whose "Beauty and the Beast" explored similar ideas
that it is what is underneath the physical veneers that truly
counts. But here, our green ogre never changes from the hideous
beast back to a handsome prince. Rather it is the rest of the
world whose minds have to change in order for the happily ever after
ending we are promised can occur. And without tipping off any
other "Shrek" newbies to the musical's outcome, there is a
delightful parallel to the "Beauty and the Beast"
transformation that is truly heartwarming.
Yes, this is a fairy tale with a message for all of us who have ever felt like freaks. It's "What makes us special also makes us strong," and I for one hope that children of all ages will take that one to heart. It's delivered in a zesty and entertaining way too without being too preachy. David Lindsay-Abaire's book and lyrics are surprisingly and refreshingly hip and contemporary, and Jeanine Tesori's music is melodic and catchy in the style of "Wicked," "Godspell" and "Avenue Q". What a relief after suffering the sonic noise that wins Tony awards and nominations these days. For a show I went in with slight reservations about seeing, I am now anxious to add the CD to my collection.
We begin our tale (following a delicious recorded welcome by no less than Julie Andrews) by meeting Shrek, who learns early on that the world can be a cold and unwelcoming place for anyone who is different. The little ogre is sent packing by his parents on his seventh birthday of all days, with a little bit of wisdom: "It's a big, bright, beautiful world...but not for you". Ogres are feared, not loved, and life is a lot harder when you're born ugly. Princess Fiona, on the other hand, has nothing to fear from looks or men with pitchforks, but since her seventh birthday she has been locked in a castle tower and guarded by a fire-breathing dragon. "Keep waiting and someday your prince will come," she is promised.
Shrek
must make the best of his solitary home in the swamp, but he'll have
some unwanted company. It seems all of the fairy tale
characters we have loved and grown up with for centuries (Pinocchio,
the Three Little Pigs, the Ugly Duckling, Big Bad Wolf, Peter Pan, et
al) have been banished from their little fairy tale kingdom of Tulac
because an edict by one Lord Farquaad declares that freaks are no
longer welcome. The vertically challenged Farquaad isn't a king
yet, because he must first marry a princess. And since he has a
little phobia against fighting fire-breathing dragons, Little Lord
Farquaad enlists Shrek to rescue the fair Princess Fiona from her
tower and return her for a quicky marriage ceremony. In return
for his heroic efforts, Shrek will be granted the deed to have his
precious swamp all to himself.
Accompanying the ogre on his dangerous journey is Donkey, who manages to see beyond Shrek's horrifying appearance to become a true blue pal. Getting past the lady dragon is the first step, which Donkey handles with fire-taming charms. Forget the princess, "I like a big, big girl," he sings. Shrek is hardly the handsome Prince Charming that Princess Fiona has set her dreams on, but heroes come in all shapes, sizes and, yes, colors. The moral of our tale is "Beautiful ain't always pretty," and being a freak or an outsider may not be all that bad after all.
There are some delicious touches throughout the two act musical, including hilarious references to "Wicked," "The Lion King," "Les Miserables" and "Dreamgirls" as well as cute spins on all those fairy tale characters of our childhoods. Director Jason Moore repeats his "Avenue Q" chores with a bigger budget and imagination to spare. In the title role, Chicagoan Eric Petersen makes a hearty hero with a big baritone and a Scottish brogue. Alan Mingo, Jr.'s wisecracking Donkey is all soul and sass, a pal for all seasons. There are three Princess Fiona's (Madison Mullahey as a child, Sarah Peak as a teen, and Haven Burton as the adult) and all three get to raise their voices together in one song to thrilling effect. Burton handles most of the character's stage time and proves to be as funny as she is radiant.
David
F.M. Vaughn had perhaps the most daunting physical task, playing the
effete dwarfish Lord Farquaad on his knees, with puppet legs in front
and concealing his real legs behind a large cape. It's a model
of camp and inspired lunacy. And step back, Miss Jennifer
Holliday. Carrie Compere's diva dragon is a show-stopping
hit. I am telling you, you're gonna lo-o-o-ve her! The
tap dancing rats that join Burton's Princess Fiona in the hilarious
second act "Morning Person" are likewise a scream.
Bravo to Choreographer Josh Prince for some marvelous moments.
"Shrek" is as lavish and colorful a treat as Broadway in Chicago has turned out in some time. Its score is to my taste at least better than "Billy Elliot," and it is peopled with larger than life characters that you really can care for. I probably could have done without the jokes on flatulence and belching, and at close to three hours (a very breezy time for sure), I believe "Shrek" will best be enjoyed by older children and adults still young enough at heart to remember their inner child. One final note. In three consecutive days of memorable theatre-going, I have gone from a storefront "Sherlock Holmes" mystery to an ambitious and tawdry Arthur Miller drama to "Shrek the Musical," all vastly different yet worthwhile. If that is not testament to the diversity of Chicago theatre, I do not know what is.
Broadway in Chicago presents "Shrek the Musical" through September 5, 2010 at the Cadillac Palace Theatre, 151 W. Randolph Street. The show runs 2 hours 45 minutes with intermission. Tickets range from $25-90 and are available at all Broadway in Chicago box offices, online at www.broadwayinchicago.com or by calling 800-775-2000. For more information on this show, please visit the Theatre In Chicago Shrek the Musical page.
About Joe Stead
Joe
Stead has enjoyed a lifelong passion for the theatre, which has
involved acting, directing, producing, designing and reviewing for
the past twenty-five years. He served as founder, producer and
Artistic Director of Curtain Up Productions in Baltimore, Maryland
and Four Star Players in Tampa, Florida. Favorite productions
have included "Life With Father," "Deathtrap,"
"The Odd Couple," "The Miracle Worker,"
"Brighton Beach Memoirs," "You're A Good Man, Charlie
Brown" and "Godspell". He has also performed
leading roles in "Fiddler on the Roof," "Pippin,"
"The Phantom of the Opera," "The Front Page," and
most recently as Hucklebee in "The Fantasticks" for
Waukegan Community Players. Joe holds a degree in Commercial
Art from Tampa Technical Institute. As a critic, he has
reviewed everything from Broadway to community theatre and major
regional theatres throughout the United States including the Kennedy
Center in Washington, D.C., Paper Mill Playhouse in New Jersey,
Goodspeed Opera House in Connecticut, and the Asolo Theatre in
Sarasota, Florida.
Since 1998, he has been a proud resident of Chicago, the greatest theatre city in America. He served for two years as Theatre Editor for College News and Central Newspapers. He created the website Steadstyle Chicago in 2000 to showcase the city's outstanding and diverse theatre scene. Joe was proud to serve alongside a distinguished panel of theatre professionals as a judge for two seasons of Speaking Ring Theatre's "Vitality" Festival of original short plays. His most fulfilling role, in addition to reviewer and all-around theatre fanatic, was as director of the 2007 production of Peter Shaffer's "Equus" at Actors Workshop (now Redtwist) Theatre, which was nominated for five Joseph Jefferson Award Citations and won for Best Actor (Peter Oyloe).