[NEohioPAL] REVIEW: Shrek, The Musical, at Players Guild Theatre

[Tom Wachunas]

LettingTheir Freak Flags Fly

ByTom Wachunas

 

   Hi-ho, hi-ho,it’s off to laugh we go…

   Once upon atime – May, 2014, to be exact – an impeccably crafted production of Shrek, The Musical romped gleefullyacross the big Players Guild mainstage with a superlative cast directed by Jonathan Tisevich. Well,it’s baaack, with Tisevich directing again.

   Thistime, though, the story plays out in the Guild’s much smaller arena space, theintimate W.G. Fry Theater. But don’t think for a second that ‘smaller’ or‘intimate’ would signal diminished energy in any way. This resurrected musicalfrolic practically explodes into the space. Call it a madcap romancein-the-round.

    Based on the DreamWorks animated film, withlyrics by David Lindsay-Abaire and music by Jeanine Tesori, here’s the story ofShrek, a cranky ogre whose private swamp is invaded by a boisterous cavalcade offairy tale characters, scorned as “freaks” and exiled from the land of Duloc bymad Lord Farquaad. To regain the deed to his land, Shrek, aided by a talkingdonkey, agrees to rescue the maiden Fiona, imprisoned in a dragon’s lair sincechildhood, so Farquaad can marry her. While the dialogue throughout isgenerously dosed with edgy word-play and inside jokes tailored for adultappreciation, there’s plenty of snap, giggle and pop in this spoofy take onclassic fantasy tales to engage children as well.

    Reprising hisrole as the cantankerous green ogre with the Scottish brogue, Micah Harvey is acommanding embodiment of Shrek’s heft and heart. The honest passion of hissinging is robust and endearing. As the story moves along, he slowly sheds hismean nature and befriends Donkey. In that role, Justin Woody is a hyperactivegadfly. Through all his comical antics he’s fleet of hoof and mouth. Undauntedby Shrek’s ferocity, he’s stubbornly loyal, his singing filled with soulfultenderness and urgency. And talk about surprising footwork. At one point intheir travels, Shrek and Donkey gingerly squirm their way through a whole rowof occupied audience seats.

   Bedecked in aningenious costume fitted with bouncing, golden prosthetic legs, Mike Burke isriveting in his role as the vertically challenged Lord Farquaad. Despite performingliterally on his knees, he’s an amazingly elastic mover. His comedic presencesoars to remarkable heights. He presents a delirious portrait of a brazeneccentric, a calculating misanthrope, a clownish megalomaniac with an inferioritycomplex. Yet there’s something mesmerizing about this high-stepping parody of avillain. When Burke sings, he seems caught up in a dream, his eyes fixed not somuch on us in the audience, but on some unseen realm. 

   Sarah Marie Young plays Fiona. She’s awondrously versatile performer, here at times sweet and witty, at othersunsparingly sardonic and earthy. She delivers some of the evening’s mostmemorable scenes and songs. Among those, IKnow It’s Today is a moving reflection on her hope to be rescued by hertrue love (ultimately not Farquaad!), sung as if unfolding across time. She’sjoined to her young self (Sophia Tsenekos, who, by the way, has anastonishingly charming, well-developed voice for someone so young), and teenself (Jordyn Freetage). Their harmonies are achingly gorgeous. Morning Person is a real showstopperfeaturing Fiona chirping with birds, twirling an inflatable deer, and joining achorus line of tap-dancing rats. I ThinkI Got You Beat is a riotous duet with Shrek, wherein they debate who hashad the harder life. Turns out they have much in common. Love at first fart.Beauty and the belch. Whatta gas.

   Other very noteworthy performances includeAshley Kendall’s powerful and fiery R&B-style singing as the Dragon; MorganBrown as the infectiously giddy Sugar Plum Fairy and the voice of Gingy, the goofyGinger Bread Man; and Robert Husted in his uproariously funny portrayal of thefrenetic Pinocchio, complete with working expandable nose. 

   The fact is,collectively this entire cast (most members playing multiple parts) is hilaritypersonified. That said, the show is more than just a silly cartoon in threedimensions. All the clever cosmetics and props, all the elaborate, dazzlingcostumes by Suwatana Rockland, are not so superficial or weighty that theyobscure the authentically human elements of the story – a sincere embrace ofsocial acceptance, diversity, and loving inclusivity.

    All thesedisplaced fairy tale people celebrate rather than judge or hide theirfreakishness. And as Shrek songfully reminds us late in the show, “…beautifulain’t always pretty.”  Combined with theeffective scenic design by Joshua Erichsen, the scintillating orchestra undermusic director Steve Parsons, and Molly Weidig’s vivacious choreography, thisis all a happy conspiracy of theatrical excellence sure to leave you delightedin Duloc.

SHREK,The Musical / at Players Guild Theatre, THROUGHFebruary 9, 2020 / 1001 Market Avenue N., Canton, Ohio / Shows Fri. andSat. at 7:00 p.m., Sunday at 2:00 p.m. / 2:00 and 7:00 on Sat., Feb. 8 /Tickets: Single tickets - $34 ; 17 and younger - $27; Seniors -  $31 / Order at www.playersguildtheatre.com   or call 330. 493.7617  

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