Review: Shrek The Musical

Edinburgh Playhouse, ⭐️⭐️⭐️

Welcome to The Swamp, home of everybody’s favourite not so little green ogre, you know, the one with the inexplicable Scottish accent and tartan leggings. Yes, Shrek is back in a brand new production with vibrant projections, dazzling digital screens, verdant cloths and a clever use of gauze that makes this production a richly coloured, cinematic treat for the eyes.

The story, for those unfamiliar with the musical based on Dreamworks’ blockbuster animation, finds all is not well in realm of Duloc, where nasty Lord Farquaad is on a mission to rid himself of fairytale characters or, as he calls them, ‘freaks’. Consequently, when Pinocchio, Peter Pan and a host of other nursery heroes find themselves banished to the swamp Shrek calls home, conflict awaits. Can the outlers come together to defeat Farquaad and show that what makes them special, is what makes them strong?   

None of them, it has to be said, come stronger than Joanne Clifton’s wonderfully petulant Princess Fiona. Clifton lifts every scene in which she appears with her daring do. Her hearty and quite joyous performance is the highlight of the show. In contrast to Clifton’s energy, Antony Lawrence’s Shrek is a languid creation, big of voice and with a Scottish accent that tips a nod to Mrs Doubtfire and at other times Star Trek’s Scottie.

The big talking point in this production, however, is the portrayal of Farquaad, traditionally played by an actor reduced in stature by performing on their knees. It’s a technique that has added skilful physical comedy to previous productions. No more. And it’s missed. This Farquaad stands tall but poses the question: Does musical theatre really need another camp baddie in search of a Princess to marry?

As good a job as James Gillan does (and he certainly boasts a deft line in subtle, and on occasion not so subtle, innuendo), there’s just something lacking, despite his nicely irreverant approach. Like Clifton, he too lifts the energy whenever he appears in what is a strangely low-energy first half. Even Brandon Lee Sears’ Donkey is somewhat under-energised, although he remains the kids’ favourite.

A show with big vocals but mostly forgettable songs (Cherece Richards’ rousing rendition of Forever being an exception), the action picks up in the second act but only truly zings along when Nick Winston’s effervescent choreography comes into play; sharply drilled eye-catching set pieces that bring the stage alive, never more so than in Morning Person/The Rat Tap Dance at the top of Act II.

Despite its 28-strong cast and being beautifully costumed and designed by Philip Witcomb, this Shrek still manages to feel empty but does prove that fart jokes are funny no matter how old you are and, as ever, the best song is kept until last and it’s not long before The Monkees’ Daydream Believer has everyone singing along and on their feet.

Runs ends 27 January, Tickets here