Shrek The Musical West End Reviews

Ultimately, Shrek the Musical is a decent musical but struggles to live up to, not only the movie it’s based on, but also the original production of the show. The performers are all very talented but it feels as though they have been let down by th...

Ultimately, Shrek the Musical is a decent musical but struggles to live up to, not only the movie it’s based on, but also the original production of the show. The performers are all very talented but it feels as though they have been let down by this particular production’s creative choices, leading to most of the fun being taken out of the world of fairytales. Shrek cannot seem to decide if it wants to be childish or mature, leading to a strange dance in between the two that neither children nor adults can fully enjoy.

Co-directed by Samuel Holmes and choreographer Nick Winston, with projections by Nina Dunn and sets and costumes by Philip Witcomb, the show often feels flatly unadventurous, typified by its lacklustre bridge-crossing sequence. Onions and ogres have ...

Co-directed by Samuel Holmes and choreographer Nick Winston, with projections by Nina Dunn and sets and costumes by Philip Witcomb, the show often feels flatly unadventurous, typified by its lacklustre bridge-crossing sequence. Onions and ogres have layers, we’re told, in a line from the film. This musical? Not really.

The theme of judging people on their appearance is very current, and allows for a couple of the better tunes; Pinocchio’s ‘Story of My Life’ and the chorus’s animated rendition of ‘Freak Flag’. However, even with an excellent live band th...

The theme of judging people on their appearance is very current, and allows for a couple of the better tunes; Pinocchio’s ‘Story of My Life’ and the chorus’s animated rendition of ‘Freak Flag’. However, even with an excellent live band there’s something lacking at the core of this musical and it has to come down to the songs. Clearly the film is packed with familiar funky and upbeat classics that build huge atmosphere and support the story. Here the songs are largely rather forgettable and samey. I can’t remember one of them postshow and the closing rendition of ‘I’m a Believer’ only serves to remind you what you’ve missed. With so many plus points to the production it’s definitely an entertaining watch. But does it capture the essence of the Shrek we know and love? Perhaps not.

This production does not go too far in any direction; its clearly for kids, for adults, for fans of the movie, for dancers, for singers, for all of us alike, you don’t even really have to have a familiarity with the Shrek film franchise to enjoy th...

This production does not go too far in any direction; its clearly for kids, for adults, for fans of the movie, for dancers, for singers, for all of us alike, you don’t even really have to have a familiarity with the Shrek film franchise to enjoy the show as the cast builds humour from ridiculousness and brutal honesty, and brings us physical comedy, classic movie moments, mind-blowing plot points and relatability. References to worlds and realities we travelled to as children come back to us like old friends and materialise for the first time before those who have just met them.

Lord Farquaad, played by James Gillan, is stripped of his Napoleon complex here and of the prosthetic short legs of previous stagings. The removal of the ableist overtones is welcome – but instead, he’s lampooned as a camp, closeted gay man with ...

Lord Farquaad, played by James Gillan, is stripped of his Napoleon complex here and of the prosthetic short legs of previous stagings. The removal of the ableist overtones is welcome – but instead, he’s lampooned as a camp, closeted gay man with a chorus of light-footed soldiers at his heels, a substitution that scarcely seems any more progressive. The production flounders on the Eventim Apollo’s huge stage, which brings all its problems into focus. The finale number, I’m a Believer, which should sum up the central themes of this show, feels like more of a last-gasp effort to get the audience on its feet. Drained of its theatrical magic, the whole thing lurches desperately from one song to the next, sapping the story of charm and humour.