Noah Beye as Shrek and the ensemble cast of “Shrek The Musical.” Photo by Heather Reagan.
“Shrek the Musical” is a rip-roaring, crowd-pleasing blast. The show, with book and lyrics by David Lindsay-Abaire (Tony winner for “Kimbery Akimbo”) and music by Jeanne Tesori (Tony winner for “Fun Home”), preserves all the gleeful and crude, good humor of the beloved movies on which it’s based. In McLean Community Players’ production, director Jarod Glou, his team, and the cast supply in exuberance what the show lacks in technical bells and whistles.
The real treat of ‘Shrek the Musical’ is bringing together performers and their fans for a rollicking good time…and that’s a happy ending.
The first coup that Glou and Music Director Rachel Bradley achieved is in casting. Everyone in onstage has an equally fine Broadway-pop voice and comedic skills. Among the supporting characters, Shelby Young stands out as Gingy, with graceful moves, good comic delivery, plus a voice that carried clearly, even through the high and squeaky requirements of the part. Kevin Donlan’s Pinocchio provides the necessary puppet-like physicality, but unfortunately, the squeaky voice proves difficult to understand at times. Ariel Friendly delivers a superb, smoking, and smoldering performance as the Dragon.
As for the principal players, Cam Powel’s Donkey cranks up all the required motor-mouth delivery, smooth moves, and inexhaustible physical comedy required, plus delivering a pleasing R&B-tinted voice. Garret Walsh as Lord Farquaad provides a huge helping of comedy in a small package, making deft use of his little dangling legs (funniest when he’s trying to “go down on one knee” to Fiona, and his “feet” are at the actors’s actual knee-level). In a show where the message is to “let your freak flag fly,” it seems a bit paradoxical that so much of the humor comes in mean jokes about Farquaad’s lack of height. Then again, he is the one who is demanding “perfection” from others while obviously lacking it himself, so perhaps it is his hypocrisy that is being skewered.
As the leading couple, Noah Beye’s Shrek combines beautiful and surprisingly sensitive singing, ogreish ill-temper, and crude jokes in one big, green, and many-layered package. (The only quibble is his Scottish accent comes and goes like sunshine in the Highland glens.) Alexandra Lagos positively sparkles as Fiona, bringing pop-Broadway vocals, grit, and good humor to every part of her role—from her frustration-laced dreaming in her tower to her hearty fart-and-burp battle with Shrek, and her delightful, full-on tap number with the mice.
Ariel Kraje’s choreography shines, particularly in that number and in the ones with Farquaad and his minions, where he sometimes gets lifted up to dance on a raised platform or on the servants’ backs. He even gets to participate in a full-on kick line, which is a hoot These performances are well-supported by the exuberant 10-piece orchestra which makes all the different styles of music in the score sound easy.
As for the technical aspects, the production does its best with limited resources. Sam Jensen’s lights get the job done, particularly both hiding and revealing Fiona during her nighttime curse. It’s a shame that the placement of the follow spot casts shadows from the other lighting instruments, looking at first like a reverse-cityscape on the horizon of Duloc. Olivia Hinebaugh’s set design is basic with crossing ramps upstage, a door to Shrek’s shack, and a few other moving set pieces, plus a very attractive painted backdrop of the Duloc landscape that flies in from time to time. Director Glou also has the fairytale characters parade in through the audience occasionally, giving us a closer look at Ginger Ager’s costumes, which are quite good. Highlights include the variations on the same green dress worn by different-aged Fionas in their trio number; Fiona’s reveal of a sassy and sparkly tap skirt when dancing with the mice dressed in twinkly vests and bowler hats; and especially Lord Farquaad’s tiny legs, classic black pageboy wig (by Kadira Coley), and glistening cape held out far enough in back to hide the actor’s feet. Whether it falls under set, costumes, or props by Natalie Foley, the one really striking special effect is the magnificent Dragon, both glamorous and fierce, flaunting its lush eyelashes, shimmering with mylar, and waving its massive tail.
The only disappointment is that the lack of other special effects make it challenging to follow some key points of the plot. It is difficult to grasp how Donkey, Shrek, and Fiona escape the dragon. When Fiona is supposed to undergo her transformation after “true love’s kiss,” it’s up to the dialogue to make it clear to the audience what has occurred. As everyone in the audience has no doubt seen the movie, they know what is going to happen, but some added special effects would have given the magical moments more punch.
When the wedding party begins and the whole cast breaks into Neil Diamond’s “I’m a Believer,” bringing the audience to their feet, none of that matters. The real treat of “Shrek the Musical” is bringing together performers and their fans for a rollicking good time with a beloved icon of pop culture—and that’s a happy ending.
Running Time: Two hours and 30 minutes including one intermission.
“Shrek the Musical” runs through July 27, 2025 presented by McLean Community Players at The Alden Theatre, 1234 Ingleside Avenue, McLean, VA 22101. Fridays and Saturdays at 7:30 pm; Saturdays and Sundays at 2 pm. $25/$20 students and seniors/$18 MCC district residents. For more information and to purchase tickets, please go online.
