BWW Reviews: Fort Bend Theatre's SHREK THE MUSICAL is Splashy and Amusing

One of the most fun and entertaining aspects of the summer is the big, splashy musicals that get produced all over the nation. Last night, I was invited to attend the final dress rehearsal of Fort Bend Theatre's SHREK THE MUSICAL. The company is bidding a fond farewell to summer with a gargantuan production that is bond to entertain any who venture out to see it. This musical, featuring a Book and Lyrics by acclaimed playwright David Lindsay-Abaire and Music by Jeanine Tesori is based on the 2001 DreamWorks film SHREK and the 1991 William Steig book SHREK!. SHREK THE MUSICAL got mixed to positive reviews when it opened on Broadway at the Broadway Theatre. It earned eight 2009 Tony Award nominations and won for Best Costumes. All in all, the show enjoyed a successful 12-month run. After its Broadway run, the creative team has tinkered with the show for its notable First National Tour and London productions. The current licensed version most closely resembles the London production of the show.

Not really a fan of the film, I had low expectations for the plot of the musical; however, I found that David Lindsay-Abaire's book gives the familiar tale a clever and much appreciated facelift. The way he writes this story gives the familiar tale a lot of earnest heart, which easily wins over even the most cynical of observers. He takes a step away from the overdone grotesque aspects of the film adaptation and crafts a family-friendly tale with rich themes that celebrate diversity, forming quality friendships, and tackle the psychological pain of abandonment. For fans of Shrek's more sophomoric humor, it's still present in the musical. It's just been scaled back, making the theatrical presentation work on both the surface level and on an intellectual level. The Book and Lyrics fully embrace the satiric qualities audiences associate with Shrek as well, adding in deftly humorous references to WICKED, Puss in Boots, THE LION KING, the 1995 film Babe, ONCE UPON A MATTRESS, DREAMGIRLS, GYPSY, and LES MISERABLES.

Tarra McCain as Director and Maury Marlowe as Assistant Director have coached the cast to embrace the characters' absurdities and individualities. Many of the character portrayals exist on this stage in much the same way that they do in the popular film series. This is especially true in regards to the chorus of banished fairytale creatures who get a handful of lines here and there. A majority of their work is put into expanding the characters of the four leads, ensuring that each one finds a way to affect the audience during the performance.

Choreography by Jessica Chasin and Debbie O'Donell is fairly minimal with the exception of the rousing tap routines during "Morning Person" and the fabulously funky dances that fill the stage during "Freak Flag."

Chris Bryant's portrayal of the titular character has just the right amount of prickle to quickly distance him from the other characters. As he warms to Donkey and falls for Fiona, Chris Bryant competently peels back the layers of Shrek's metaphorical onion. He emulates Mike Meyers Scottish brogue for the character; however, in last night's dress rehearsal it was not always consistent. The accent slips away when Chris Bryant sings and when he is required to become loud or even more animated. When signing he brings a sincere charm to his character, which makes songs like "Travel Song," "I Think I Got You Beat," and "This Is Our Story" all the more entertaining. His strongest performances were his captivating take on "When Words Fail" and a his sensitive reprise of "Big Bright Beautiful World."

Basking in the spotlight opposite of Chris Bryant's Shrek is JosH Clark's hyperactive, hysterical, and scene stealing rendition of Donkey. He keeps the character colorful without it being entirely informed by Eddie Murphy's portrayal of the character. JosH Clark also brings charisma and comedy to amusing numbers like "Don't Let Me Go," "Travel Song," and "Make A Move."

Jessica Griffin's Princess Fiona is filled with lovable sass. Often the character defies gendered stereotypes for princesses by being unambiguously demanding and domineering, which makes the portrayal all the more fun for the audience. Vocally, she is good shape, bringing a pleasant feistiness and zest to her performances of "I Know It's Today," "Morning Person," "I Think I Got You Beat," and "This Is Our Story."

The most surprising performance comes from James Sheahan's spin on Lord Farquaad. In the film, the character is flat and one dimensional, but in this production James Sheahan expertly emphasizes the extra insight into the character that David Lindsay-Abaire has written to create a person that is actually likable. When he exposes us to his own issues with abandonment, he becomes a redeemable, fully realized human not just a flat villain. Moreover, his performance keeps him on his knees for a majority of the show, and he skillfully masters the illusion of Farquaad's tiny stature. Lastly, his vocals are among the best in the performance, making "What's Up Duloc?" and "The Ballad of Farquaad" among the best performances of the evening.

As an ensemble, the large cast in the show puts tremendous effort and energy into their performances, making this a production worth seeing. Each member does their job with their assigned role(s) to make the musical pop with energy. Standout moments include Nick Thomas's high pitched whines of disapproval as Pinocchio, Danielle Troiano's soulful vocals and the infamous "You Monster" scene as Gingy, and the adorable trio of young girls as The Blind Mice.

Naturally, as it was a dress rehearsal at the end of an arduous tech process, there were problems to be had with the production. Most of the issues were technical, and I am sure that the company is well aware of them. However, there were a few moments in the performance that didn't work well for me. Despite being cute, there was a noticeable spacing issue happening with the girls that play the Three Blind Mice. My judgment tells me that it is intentional because the characters are blind, but the spacing problem happens with such exactness that it reads as too polished and makes the spacing just look wrong. Also, the Act I finale, "Who I'd Be," had Chris Bryant, JosH Clark, and Jessica Griffin all fighting for correct pitches and I'm not sure they were every truly found. I hope they have a moment to run through the number a handful of time before they open so it can be the electrifying send off into intermission that it is intended to be.

From what I saw at last night's final dress rehearsal of Fort Bend Theatre's SHREK THE MUSICAL, I'm fairly certain that their three performances will be amusing and fun. A lot of hard work has gone into delivering a quality show to the audience, and I really feel this cast is ready to do just that. For a community theatre, an impressive amount of work has been done into creating detailed costumes, props, and set pieces as well. Many kudos to the talented hands that labored over these elements. Take the striking technical elements, mix in performances that were all pretty solid, and I feel that Fort Bend Theatre has a great show on their hands. This production of SHREK THE MUSICAL should be a good way to say goodbye to summer, have some laughs, and enjoy one last outing with the whole family before the kids start back to school in the coming weeks.

SHREK THE MUSICAL, produced by Fort Bend Theatre, plays at Stafford Centre, 10505 Cash Road, Stafford, 77477 from August 17-18, 2018. Performances are Saturday and Sunday at 3:00pm and Saturday at 8:00pm. Tickets are $20-$50. For tickets and more information please visit http://fortbendtheatre.com or call (281) 208-3333.

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