I’m a Believer

Shrek: The Musical

Musical Theatre has come a long way since “Oklahoma” and “Showboat.” In this “greatest fairy tale never told,” we find the story of an ugly, green ogre, who loudly burps, passes gas and roars at strangers. But in addition to being entertaining, the musical promotes the important theme that, although everyone is unique with different talents and strengths, we all deserve to be loved and respected. Shrek is more-or-less content with his life as an outcast. He lives alone in a swamp where no one ever bothers him because they’re scared. Then one day, Lord Farquaad, the evil ruler of Duloc, banishes all the fairy tale folks from his kingdom, simply because they’re different. The only place they can go is the swamp that Shrek calls home. And suddenly a two-act adventure begins about being different in our society. The story might remind theatergoers of the political climate in America today. 

When William Steig wrote and illustrated Shrek! back in 1990, the prolific and popular children’s author and illustrator had no idea of how beloved his creation would become a few years later. Dreamworks saw the book as a positive story about individuals who are different, but have learned to embrace their distinctiveness. They purchased the rights to Steig’s book and in 2001 an expanded version of Steig’s story became a blockbuster animated film. Sequels to the original movie soon followed. Then, in 2008, a theatrical musical version, with a book and lyrics by playwright David Lindsay-Abaire and music by composer Jeanine Tesori, opened to excellent reviews and wild audience acclaim. Soon, many international productions and National Tours (including the first of which began its tour in Chicago) were entertaining theatergoers around the world.

This holiday offering by Music Theater Works is vast in scope and a truly ambitious undertaking for any theater company. Personally, having seen both the original Broadway production and the First National Tour, I feel that the abridged, one-act theatrical version tells the story just as effectively, but much more concisely. Younger theatergoers’ attention level isn’t as strained in an hour-long production, while the show still provides a captivating musical story about accepting differences in ourselves and others. I’ve seen two excellent productions of the shorter version over the years and have never felt shortchanged by these presentations.

Guided by talented Chicago actress and director Johanna McKenzie Miller, known for her wonderful work at the Marriott Theatre, this production is a visual and auditory artistic success. The show features expert direction by musical director, Linda Madonia (who also conducts the talented 15-member pit orchestra,). And there’s some exciting, quite challenging, choreography by the always brilliant Laura Savage. Rachel M. Sypniewski, ably assisted by Kristen Brinati, has designed an impressive imaginative and colorful array of costumes for her large cast, embellished by some extraordinary hair, wig and makeup designs by Alice Salazar and Pia Macias. Magically lit by Andrew Meyers, Ann Davis’ fine scenic design is greatly enhanced by Anthony Churchill’s lovely and dreamy storybook style media design. A program note aptly salutes the support provided by Robert “Bob” Markey, whose gift of the company’s media and projection computer system made the visuals for this show so spectacular.

The cast is incredibly large and immensely talented. From the four leading roles to the many, many hardworking supporting players, these actor/singer/dancers pull out all the stops and make this production a special, spellbinding experience. Everyone in the ensemble, most of whom do double and triple duty in multiple roles, are full of energy and enjoyment. They dress the stage as Farquaad’s minions, tap-dancing mice and a variety of familiar fairy tale folks.  

In the leading role of Shrek, Jordan DeBose is excellent. He captures all the bold and bodacious characteristics of the big, green ogre. Jordan’s musical prowess is powerful and their comic timing is terrific. Jordan has great chemistry with both Shrek’s sidekick and leading lady, making the ogre especially likable. The only problem I had (and my criticism was confirmed by the opinions of several friends after the show) was that Jordan’s Scottish brogue was so thick that it was difficult to understand him at times. While this was true in their dialogue it was especially a problem during their songs. When the orchestra played full out, it became very hard to understand their lyrics; but in songs with lighter accompaniment the problem wasn’t nearly as noticeable. In addition, the actor chose to speak and sing in a gruff,  gravelly voice, which was an appropriate choice, but it made their words even more unintelligible. Possibly the problem may have been partly due to over-amplification of the sound.

The sparkle and glitter in this cast comes from the leading lady. An  absolutely delightful Dani Pike walks away with the show as the sassy Princess Fiona. Her funny and feisty performance as this independent young girl is both powerful and priceless. Ms. Pike mines every ounce of humor and hilarity from the script. Not only delivering her lines with elegant enunciation and shrewd comic timing, Dani is a gifted songstress of the highest calibre. I can see this actress performing her own one-woman cabaret show at Davenport’s some weekend, she’s that good! 

I must mention that when we first meet Princess Fiona we see her as a kid, then as an adolescent, and finally as a young adult. Fiona’s younger incarnations are beautifully played by Omi Lichtenstein, as Child Fiona, and Shaya Harris, as Teen Fiona. Like Rapunzel, Fiona’s callous parents lock her in a tower because she’s had a curse placed upon her by a wicked witch. Of course, the audience won’t learn what this spell entailed until the end of Act I. But it’s in this tower where we get to meet all three versions of Fiona, singing their buoyant ballad, “I Know It’s Today.”

Two other supporting actors fill this production with slapstick and satire. Eustace J. Williams is sensational as Shrek’s sidekick, the annoyingly talkative, endlessly optimistic Donkey. While never giving in to an impersonation of Eddie Murphy, who voiced Donkey in the film, Mr. Williams certainly calls to mind the comedian’s expressive vocal patterns and inflections. It would be impossible not to because that’s just the way the role is written. Williams scores big time in his many musical numbers, from his plaintive solo, “Don’t Let Me Go,” to the finale of Act I, a heartfelt trio sung by Shrek, Fiona and Donkey, entitled “Who I’d Be.”

An absolutely extraordinary performance is delivered by the incomparable Michael Metcalf, as the vertically challenged Lord Farquaad. Not only does he convincingly play this role with comic viciousness and vile vivacity, he can belt out a song, dance up a storm and bring down the house with laughter—all while portraying the diminutive dictator on his knees! He fully commits to this character and seems to relish every outrageous moment. I can’t imagine how this talented young actor is able to physically hold up through a two-act musical. But Michael Metcalf is a gifted performer who’s obviously dedicated to his art and willing to give it his all.

Other noteworthy performances come from powerhouse songstress, Maddison Denault, as the personification of Dragon. The actual Dragon puppet is operated by several strong and talented (but uncredited) performers, all clothed in black. Gingy, the Gingerbread Man puppet, is impishly voiced by Crystal Claros, who also plays the Sugar Plum Fairy. Also a bit difficult to understand, because the actress uses a high-pitched voice, Michaela Shapiro nicely plays both the Magic Mirror and the wooden boy, Pinocchio. Although there’s far too many talented performers to identify and mention, watch for the likes of Peter Pan, Tinkerbell and Captain Hook; the Wicked Witch; the Three Little Pigs and the Big, Bad Wolf; the Pied Piper; the Three Bears; the Ugly Duckling; Alice, the Mad Hatter and the White Rabbit; the Three Blind Mice, and many other familiar folk and fairy tale characters.

Johanna McKenzie Miller’s production is really quite good. While for this theatergoer, the shorter version of “Shrek: the Musical” is, as Goldilocks says, “Just right,” this lavish, two-and-a-half hour production will give enthusiastic theatergoers their money’s worth of joyful holiday entertainment. For musical theatre aficionados, keep your eyes and ears open for all the references and homages to other famous, big-name musicals, such as “Les Miz,” “Gypsy,” “Dreamgirls” and many more. The production is filled with cheerful and catchy songs, like “Big, Bright Beautiful World,” “Story of My Life,” “What’s Up, Duloc?” “Morning Person,” “I Think I Got You Beat,” “This is Our Story,” the infectious, 11th hour theme of the show, “Freak Flag,” and the jubilant and festive finale, “I’m a Believer,” that you’ll leave the theater humming. 

Recommended

Reviewed by Colin Douglas

Presented December 21-31 by Music Theater Works at the North Shore Center for the Performing Arts, 9501 Skokie Blvd., Skokie, IL. 

Tickets are available in person at the the box office, by calling 847-673-6300 or by going to www.MusicTheaterWorks.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.