Based in spirit on the Dreamworks animated film, Shrek The Musical opened on Broadway in 2008 for a run of 441 performances before giving way to a U.S. national tour and several other non-Equity (non-Actors’ Equity) tours. The popularity of the film and the Broadway musical adaptation by Jeanine Tesori (music) and David Lindsay-Abaire (book/lyrics) has kept interest in the work alive, leading the creators to offer a refreshed touring version that saw a two-performance stop this week in Knoxville at the Tennessee Theatre as part of its “Broadway at the Tennessee Theatre” series.
This touring version, a non-Equity production, features new direction and choreography by Danny Mefford making his directorial debut. Mefford is known for his choreography in current and recent Broadway productions of Kimberly Akimbo, Dear Evan Hansen, and Fun Home. Composer Tesori and lyricist Lindsay-Abaire have made other “re-imagined” changes to the show including a newly designed set and costumes, simplification of the plot and the addition of a semi-narration, new orchestrations to suit a reduced 6-member on-stage instrumental ensemble, and an altered lineup of musical numbers. Of course, the notable and popular numbers like “Big Bright World,” “Story of My Life,” “I Know It’s Today,” and “Who I’d Be” were still there to satisfy fans of Tesori’s score.
One had only to scan the Tennessee Theatre audience for proof of Shrek’s popularity with all ages. In fact, a plethora of green ear headbands on audience members and the delighted cackle of children’s laughter at colorfully-costumed fairytale characters and smelly-fart jokes told the story. (I may have witnessed a few adults laughing as well.) Clearly, accepting oneself and others for who, and what, they are is an undeniably important theme that both children and adults can hopefully embrace.
Nicholas Hambruch turned in an entertaining performance as the green ogre Shrek, sporting an appropriately ill-fitting costume and green horn-ears to go with a Scottish accent. Cecily Dionne Davis was a delightful Fiona with Naphtali Yaakov Curry turning in the expected sassy, over-the-top Donkey. Perhaps the best-defined character, the pompous and shallow comic villain, Lord Farquaad, was taken by Timmy Lewis. The Dragon was a strong-voiced Tori Kocher.
With the tour performing two-city weeks since last February, it wasn’t surprising that the cueing, scenery movement, and excellent ensemble work was tight and sharp. The six-player instrumental ensemble of two keyboards, guitar, cello, drums, and bass was led by Harrison Roth. The instrumental mix and performer miking was expertly accomplished.
Of course, while one admires the hard work, talent, and dedication of a non-Equity cast that features performers at the very beginning of their professional careers, it’s hard to overlook the obvious compromises that the arrangement implies. Years down the line, one hopes that “There’s No Business Like Show Business” is still stirring in their performer souls.
