REVIEW: Shrek the Musical - Communication in Action

Shrek the Musical

Communication in Action

Talbot Theatre, Thomas Dixon Centre

Directed: Tim Hill

Music Director: Jacqui Devereux

Choreography: Justin Anderson 

Photography: By Brit Creative

Walking into a completely full Talbot Theatre is always a promising sign, and Shrek the Musical wasted no time proving why every seat was taken! The show leaned fully into what makes Shrek so much fun: outrageous characters, bold humour, and joyful theatrical silliness. The musical honours the film while giving the comedy a fresh stage twist, with plenty of jokes that flew straight over the kids’ heads and landed squarely with the adults.

Henry Marsh as Shrek brought warmth, humour, and a very solid accent to the role. Vocally, he handled the demands of the score with confidence, as did the other boys across the cast. “Who I’d Be” was a lovely, sincere solo that showed the gentler side of the character. I would have loved to see Shrek lean even further into that fed-up frustration at times, but overall his performance of this tremendous role was incredible.

Hamish Treweeke as Donkey was an absolute highlight. Donkey has to be a speedy talker, crystal clear, and relentlessly energetic, and Hamish delivered all of that with sass to spare. He was a walking encyclopaedia of pop culture references, a constant ball of energy, and absolutely nailed “Don’t Let Me Go,” cementing the Shrek-and-Donkey dynamic as the strongest duo on stage.

Murphy O’Connor as Princess Fiona was a complete standout. She played Fiona as the glorious crackpot she is, with bold physicality, dramatic gestures, and excellent comic timing. Vocally, Murphy was fantastic, switching effortlessly from a bright musical theatre belt to a sweet, delicate classical tone. (“the waiting!!!!!” moment was chef’s kiss.) “I Know It’s Today,” shared with Aria McGregor (Young Fiona) and Dottie Reisener (Teen Fiona), was beautifully layered, confident, with harmonies that blended seamlessly.

Archer Grounds’ Lord Farquaad was iconic, from the sparkly outfit and sassy attitude to the impressive knee-sprinting across that enormous stage (no small feat... pun fully intended). Henry Woodward as Thelonius added to the laughs and was the perfect sidekick in Farquaad's scenes.

Ella Reynolds as Gingy was a joy. I loved that she didn’t lean into the overly squeaky voice we so often hear. Her natural voice was divine and gave the character warmth and sympathy. Ariella Meehan’s Pinocchio was full of personality, and the nose effect was a very fun visual gag for the audience!

Alessia Lily Monteverde as Dragon brought serious funky energy to “Donkey Pot Pie,” complete with spotlights, a killer outfit, and strong support from the Knights. Without the option of a giant dragon puppet, the moment relied entirely on Alessia, and she delivered vocally in a big way! I would have loved to see that sass shared with the audience a little more (face us more cause we want to see you!), as the blocking had her chasing Donkey all over the stage in her stilettos.

“Story of My Life” was a delightful explosion of fairytale chaos, with an absurd number of characters filling the stage! It was cleverly cast to spread featured moments among the more senior performers. The fairytale creatures truly shone in “Freak Flag,” which completely blew me away. The commitment to character was fantastic, the choreography was high-energy, and the whole number felt joyfully unhinged. Standouts included Bella Pietrobon’s Wicked Witch, Saana Chang’s Ugly Duckling, Neil Marco Il Aballe’s Big Bad Wolf, and Stephanie Dortolina-George as Mama Bear.

Visually, this production was stunning. The massive digital backdrop looked like storybook paintings brought to life, and the lighting on this stage was, as always, fabulous. The designer made excellent use of patterned lights to add texture without overwhelming the action. I also loved how the audience walkway was used during the travel sequences, giving the staging scale and helping the world feel bigger than the stage.

“Welcome to Duloc” was a fun ensemble moment, full of bright energy and costumes. I would have loved to see even more plastered grins and crisper articulation to really lean into that aggressively cheerful dystopia. “Morning Person” was a crowd-pleaser, with strong choreography, though I couldn’t help wishing the tap sections had been performed in actual tap shoes. Let those rhythms sing!

“I Think I Got You Beat” was a standout musical moment between Fiona and Shrek, with great chemistry and comic timing. Donkey observing from further upstage meant some of his reactions were lost, and I think perching him closer to the stage edge would make that moment even stronger.

The ensemble as a whole was a real strength of this production. Their commitment, energy, and character work lifted every scene. Bonus points as well for the Princess Bride reference at the wedding, which absolutely tickled me. Under the direction of Tim Hill, with choreography by Justin Anderson and music direction by Jacqui Devereux, Shrek the Musical was fun, fast-moving, and full of heart. It embraced the ridiculous, celebrated its performers, and left the audience smiling.