Musicals take interesting paths. Some are clear hits, running forever on Broadway, and taking their own sweet time on hitting the regional market (ex: Wicked). Some are perennials: classics on Broadway and on the regional market (ex: Fiddler). Some are Broadway hits, but never quite get the knack of the touring production, and never quite make it in the regional market (ex: Natasha, Pierre, …). Some are so-so on Broadway, and perhaps they do a tour, but then they fade away (ex: Catch Me If You Can). Some fade away as soon as they open on Broadway (ex: Tuck Everlasting).
But then there are shows that embrace the tour. They get reworked for the road, and that rework makes them much stronger than the original Broadway production. The reworked version works well, and quickly goes into the regional market and becomes a staple production, from the school level to the community theatre to the larger regional theatre. These are shows like Legally Blonde, The Addams Family, and Shrek.
Here in Southern California, it seems to have been a season of Shrek. I recall quite a few productions: Simi Valley, one in Santa Clarita, loads of school productions. But they weren’t there when 5 Star Theatricals (FB) announced their production at the beginning of the year. The season they announced was intriguing: Shrek (perhaps overdone at the school level), Matilda (first large regional production), and West Side Story (appropriate, for Lenny’s 100th). Two were new for 5-Star. This was also coming after some turmoil at the company: Will North, who had picked the prior season (Joseph, Hunchback, and Beauty and the Beast) and had starred in Hunchback, quickly disappeared and Patrick Cassidy (FB) was there as Artistic Director. Quite likely, it was North that picked the current season, which Cassidy got to execute. We renewed — not only because the shows are interesting, but because 5-Star has a great mission in serving the Ventura County community that is deserving of support.
Back to Shrek (which we saw Saturday night at 5 Star Theatricals (FB) in Thousand Oaks): The stage production lasted a year on Broadway, and was mostly true to the movie. You could see the story points from the Dreamworks Movie and the original book by William Steig that the book author (and lyricist), David Lindsay-Abaire (FB), and the composer, Jeanine Tesori, wanted to preserve. But some elements kept changing and adapting on tour and in the West End, and these made it back into the show that was eventually licensed. [This highlights yet another difference between stage and screen. The screen stays the same, forever: story and performance. Stage adapts: what was on Broadway is different from the tour and regional, and performers constantly change, and every performance is unique.]
As with The Addams Family, the eventual licensed version became stronger than the original. There also seemed to be a bit more freedom — I noticed some very topical additional to the show, and references to shows that were produced after Shrek was on the Great White Way. This is good, and it reminded me that we shouldn’t assume we know a property from the Broadway production and the cast album, and that there is value in seeing a show you already know again.
The story of Shrek is essentially the movie on stage, with some slight modifications for the limitations of live action over animation. The Wikipedia page has a good summary of the original Broadway production. The licensing page from MTI (click on synopsis) provides a summary of the licensed version. I’ll wait while you read (plays with phone and taps feet).
Watching the show, a number of thoughts came to my mind. The first was something that happens more and more of late: there were resonances with current events. In this case, Farquaad’s notion of petty dictatorship, the hatred of the other Fairy Tale creatures and the desire to keep them out and walled away, and the subsequent reveal that he, too, was one of them, had far too many echoes of the current occupant of the White House, a leader for whom the size of his ego makes up for his other shortcomings. There were other echoes of politics as well, including songs about building a wall. At least I don’t recall any consent issues in the show (that has made a number of other shows much more creepy), although there was a great Cosby reference.
Second: This show was a love-letter to Broadway. Just as the original movie had loads of references to Disney and other children’s movies, this show had loads of references to other Broadway productions. There were lines from Gypsy, Fosse style dancing, references to Dreamgirls and Les Miserables and Wicked and Beauty and the Beast. There were puppets from the Lion King. There was even a reference to Kinky Boots. If you are Broadway-aware, see if you can catch all of them.
The message of the story — thanks to the current situation — transcended the original as well. Coming out of the original production, one would have been imbued with the message of the importance of being who you are, and that there is someone out there who will love you for who you are. But today, the message of “letting your freak flag fly” has a difference resonance — especially as we are in an election season where those whose voices have been trampled by the pandering to the Trump base can finally speak back up and assert our power. The ending of the show is a clear reminder of the importance of “letting your freak flag fly” at the polling place the first Tuesday in November.
In summary, this was a show that entertained the kiddies at one level, with the storytale antics and fart jokes of the original. But for the adults, it was something that transcended the original Broadway production. It brought a level of self-awareness of what it was, with an undercurrent of political meaning, that adults would pick up on. As such, it was very very enjoyable.
It didn’t hurt that, under the direction of Kirsten Chandler (FB), the performances were very strong. This was supplemented by the great choreography of Karl Warden (FB). Of course, this wasn’t quite at the pinnacle of the previous Beauty and the Beast with the original Broadway Belle, but it was very very good. I’ll note here the one big drawback with this show: For most of the characters, the heavy costumes and heavy makeup often obscure the actor as the physical presence. These costumes also tend to limit what is possible in terms of the choreography — it’s hard to dance in oversize shoes and donkey hoofs. That’s a problem not of this production, but endemic to this show and other similar animation adaptations.
In the lead position was Trent Mills (FB) as Shrek. Mills, who looks to be a newer performer in the area, did a spectacular job and held his own against his Equity colleagues. He had a very strong singing voice, and generally brought the right presence to Shrek, capturing the humor well.
Rounding out the lead triumvirate were Lawrence Cummingsæ (FB) as Donkey, and Alison Woodsæ (FB) as Princess Fiona. We have seen both recently on the 5-Star/Cabrillo stage in The Little Mermaid. Cummings projects a great attitude and is seemingly game for anything. He has a strong singing voice, and handles the comedy and movement of the character well. Woods, also, is strong and possessed of a lovely singing voice. For this character, she captures the feistyness of the Fiona quite well, and seems to be having quite a bit of fun in “I Think I Have You Beat”. Both are very fun to watch. The only weakness with Fiona was the transformational makeup, and I don’t believe that was an actor issue.
This brings us to Marc Baron Ginsburgæ (FB) as Lord Farquaad. We’ve seen a lot of Marc of late, from his Lumiere in Beauty and the Beast and his remarkable Levi Strauss in Levi! (not to mention other Cabrillo/5-Star roles). He’s a remarkable character actor and singer, and the Southern California area is lucky to have him in so many shows, for the always guarantees a good show. That’s no different here: he brought a level of fun to Farquaad, capturing the innate absurdity and projecting it out well. [Odd thought: Ginsberg as Pseudolus in Funny Thing. Just saying. Or as Meyer Rothschild in The Rothschilds. Yes, he has that range.]
The remaining performers had multiple tracks and roles for the most part, also serving as part of the ensemble (the exception were the younger performers). This group consisted of the following folks — and there are a few whom I single out at the end: Kyle Frattini (FB) [Pinocchio, Dragon Puppeteer, Ensemble]; Deanna Anthony (★FB, FB) [Mama Ogre, Mama Bear, Dragon, Ensemble]; Zachary Thomson [Young Shrek, Dwarf]; Bayley Tanenbaum [Young Fiona]; Kate Godfrey (★FB) [Teen Fiona]; Gabrielle Farrow (FB) [Queen Lillian, Wicked Witch, Ensemble]; Dominic Franco (FB) [Peter Pan, Dragon Puppeteer, Ensemble]; Sara Gilbert (IG, FB) [Ugly Duckling, Ensemble, Fionau/s]; Kevin Gilmond (FB) [King Harold, Captain of the Guard, Pied Piper, Bishop, Dragon Puppeteer, Ensemble]; Isaiah Griffith (FB) [Bricks – Pig, Knight, Ensemble]; Augusto Guardado (FB) [Sticks – Pig, Knight, Ensemble]; Mitchell Johnson (FB) [Big Bad Wolf, Dragon Puppeteer, Ensemble]; Drew Lake (FB) [Fairy Godmother, Dance Captain, Ensemble]; Colden Lamb (FB) [Straw – Pig, Ensemble, Dragon Puppeteer]; Julia Lester (FB) [Sugar Plum Fairy, Gingy, Ensemble]; Natalie Miller (FB) [Shoemaker’s Elf, Blind Mouse, Ensemble]; Kat Monzon (FB) [Little Bo Peep, Blind Mouse, Ensemble]; Matthew Christopher Thompson (★FB, FB) [Papa Ogre, Papa Bear, Thelonius, Knight, Ensemble, Shreku/s]; and Alexa Vellanoweth (FB) [Baby Bear, Blind Mouse, Ensemble]. Of this group, there are a few worth special notice. First, there is Deanna Anthony — who has a truly remarkable gospel and theatre voice, which she uses to great effect on “Forever”. Also notable was Julia Lester’s double duty, and her ability to switch quickly from Gingi to the Sugar Plum Fairy voice, all while belting out the lead in Freak Flag. The actors that did the puppetry of the dragon (Frattini, Franco, Gilmond, Johnson, and Lamb) did remarkable work on bringing the dragon to life. On the kid side, both Tanenbaum and Godfrey had very strong voices and captured their characters well (although it is interesting to see how Fiona got smaller moving from teen to adult — usually, its the other way around). The three blind mice — Miller, Monzon, and Vellanoweth — were hilarious during their number, making stumbling around into an art.
Music was provided by the 5-Star Theatricals Orchestra, under the direction (and conduction) of Dan Redfeld (★FB, FB), and contracted by Darryl Tanikawa (FB). The musicians were: Gary Rautenberg (FB) [Flute, Piccolo, Clarinet, Alto Sax]; Matt Germaine (FB) [Flute, Clarinet, Bass Clarinet, Soprano Sax, Tenor Sax, Baritone Sax]; Melissa Hendrickson (FB) [Horn]; Bill Barrett (FB) [Trumpet, Piccolo Trumpet, Flugelhorn]; June Satton (FB) [Trombone, Bass Trombone]; Ruth Bruegger (FB) [ViolinI, Concertmaster]; Sally Berman [ViolinII]; Rachel Coosaia (FB) [Cello]; Steve Bethers [Electric & Acoustic Guitar, Ukelele]; Gary Solt [Electric & Acoustic Guitar, Mandolin]; Chris Kimbler (FB) [KeyboardI]; Lloyd Cooper (FB) [Keyboard SynthesizerII]; Shane Harry (FB) [Electric Bass, Acoustic Double String Bass]; Alan Peck [Set Drums]; and Tyler Smith (FB) [Percussion].
Finally, we turn to the production and creative side. The sets, scenery, and props were provided wholly or in part by 3D Theatricals (FB). This included the first time I can recall seeing a turntable on the Kavli stage. Some elements were quite clever, some looked a bit shopworn (perhaps rented out a bit too much without refurbishment), and some seemed a bit more amateur (a scrim or two). I miss the days Cabrillo built their own, but these were serviceable and gave the “Broadway” level to which 5-Star strives, but couldn’t afford if it had to amortize the sets over two weekends of performance. Additional props were by Alex Choate (FB). The costumes (supplied by 3D) were coordinated by Kathryn Poppen (FB), with hair and wig design by Jim Belcher (FB), and makeup by Denice Paxton (FB). For the most part, these worked — although the heavy costumes in this show often hide the beautiful and expressive faces and movement of the performers (which isn’t a fault of the team, but inherent in the show). A few costumes could use a little work: Young Shrek needs to grow into his head, and the transformed Fiona (likely due to time) needed a bit more ogre and a bit more green to fully pull off the transformation. Jonathan Burke (FB)’s sound design mostly worked: the sound effects were spot on, including the synchronization for the dwarf at the end, but there were points where the performers voices were lost in the hall (especially up in the Mezzanine). Hopefully, that can be adjusted before the final weekend. Jose Santiago (FB)’s lighting design worked well, and there wasn’t overuse of the spotlight as we used to see in Cabrillo productions. Rounding out the production team: Jack Allaway [Technical Director]; Talia Krispel (FB) [Production Stage Manager]; Tawni Eccles (FB) and Julian Olive (FB) [Asst. Stage Managers]; David Elzer/Demand PR [Press]; Richard Storrs (FB) [Marketing Director]; Fresh Interactive (FB) [Marketing Team]; Jason Moore [Original Direction]; Rob Ashford [Original Direction]; and Patrick Cassidy (FB) [Artistic Director].
Shrek: The Musical continues at 5 Star Theatricals (FB) for one more performance today, and for next weekend. It’s a fun show and a great diversion, with some very strong performances. Tickets are available through the 5-Star box office; discount tickets may be available through Goldstar.
Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at 5 Star Theatricals (FB), the Hollywood Pantages (FB), Actors Co-op (FB), and the Ahmanson Theatre (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.
October will close with the Contemporary Crafts Show in Pasadena.
Continuing the lookahead: November starts with She Loves Me at Actors Co-op (FB), Stitches So Cal. and if we can shift our She Loves Me tickets to Sunday, the Austin Lounge Lizards at Boulevard Music. The second weekend of November is very busy: Dear Even Hansen at the Ahmanson Theatre (FB) and A Bronx Tale at the Hollywood Pantages (FB), as well as A Day Out With Thomas at Orange Empire Railway Museum (OERM) (FB). The third weekend of November brings Beyond Jacobs Ladder from Jewish Woman’s Theatre (FB) at our synagogue on Saturday, and Finks at Rogue Machine Theatre (FB) on Sunday. Thanksgiving weekend has Remembering Boyle Heights at Casa 0101 (FB) in Boyle Heights on Friday, and Steambath at the Odyssey Theatre Ensemble (FB) on Sunday. December starts with the Annual Computer Security Applications Conference (ACSAC), followed by a hold for the Canadian Brass at the Saroya [the venue formerly known as the Valley Performing Arts Center (VPAC)] (FB). Then we may travel up to the Bay Area for Tuck Everlasting at TheatreWorks Silicon Valley (FB).
January will start with Bat Out of Hell at the Ahmanson Theatre (FB), and ends with a Nefesh Mountain concert at Temple Judea and a hold for the Colburn Orchestra at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB) but the rest of the month is currently open (as few shows run in January due to complicated rehearsals over the holidays). We’ll keep our eyes open. February starts with the Cantor’s Concert at Temple Ahavat Shalom (FB), Hello Dolly at the Hollywood Pantages (FB), and Anna Karenena at Actors Co-op (FB). There’s also a HOLD for 1776 at the Saroya [nee the Valley Performing Arts Center (VPAC)] (FB), but much of February is also open.
As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.