FRACTURED FAIRYTALES AND THE SOUNDS THEY MAKE

SHREK THE MUSICAL at THE BROADWAY THEATER in preview

Flatulence figures prominently in Dreamworks' new live musical production of SHREK, their very popular animated franchise. In fact, there's an entire song partly devoted to farting and burping in which the lovesick Ogre, played with much affection by Brian d'Arcy James, goes head to head with strong-willed dreamer, princess Fiona in one of the show's highlights, a smart-ass ditty called I THINK I GOT YOU BEAT.

It is precisely at this point in the show, the start of Act 2, through this sassy Sony & Cher-like number, that Fiona, lovingly played by Sutton Foster [for which she can count on yet another Tony nomination] falls for the miserably lonely Ogre. It's also about the exact time I started to realize that SHREK is truly best enjoyed by going with the flow and savoring its silliness of a fairytale camp ride. Of course, after SPAMALOT and its predecessor THE PRODUCERS, you can't expect any, well, producer, in their right mind, not to boost the wink-'n'-nod quotient in tourist trap musicals. So there you have it, SHREK THE MUSICAL, has little in common with the darkly shaded INTO THE WOODS after all. And if anything, it's closer to a big budget, large scale theatrical equivalent of FORBIDDEN BROADWAY, well at least in parts.

By now many of us know the SHREK movies by heart, with their witty humor not far removed from the AIRPLANE variety. As a result, this stage production offers a compromise to its loyal audiences by providing essentially the same familiar story line as the film but with freshly inserted jokes, puns and asides. And this may come as a good thing, as it is probably safe to say that, after leaving the Broadway Theater, you'd agree that all possible puns have now been exhausted.


With an uneven book and, yes, funny but less witty and not too impressive lyrics by David Lindsay-Abaire [Pulitzer prize winner for THE RABBIT HOLE] and a mishmashed collection of tunes by Jeanine Tesori [sounding closer to her jolly THOROUGHLY MODERN MILLIE score than to her acclaimed esoteric work on CAROLINE, OR CHANGE], the show still manages to work its intended two-tier audiences, appeasing adults and their kids alike. Tesori tries her hand in several styles of music and some numbers work better than others, especially the more traditional big musical sequences. They serve the story better. The more ambitious the number, it seems, the better it works on the crowds. And several numbers apparently work wonders as the show received a tremendously enthusiastic response from last night's preview audience and, by the end, a unanimous standing ovation. Not bad for a show that looks like its having fun whether or not were in on it.

I will admit this, SHREK may not be my kind of Broadway, even if I laughed here and there, and even if I truly appreciated the performances. But I can easily recognize an excited crowd when I see one, buzzing about and making SHREK a word-of-mouth wonder.

With some creativity and imagination, as well as assistance and guidance from John Tartaglia, who plays Pinocchio here, there's some AVENUE Q puppetry that fits nicely into the show's mold. However, it never quite achieves the awe-inspiring levels of Q. And frankly, even if at first impressive, Tartaglia is probably least served well in this production. Yet, good news, the rest of the big name talents are.


Starting with Foster, who is simply as lovely here as she was in THOROUGHLY MODERN MILLIE and THE DROWSY CHAPERONE. She not only has a wonderful voice but a killer comic instinct. Christopher Sieber [SPAMALOT, MILLIE] does a hysterical Lord Farquaad, mostly on his knees [think John Leguizamo as Toulouse-Lautrec in MOULIN ROUGE] and has all the big fun numbers. But getting the best lines, perhaps, and the best songs, for sure, is Daniel Breaker, a last minute replacement as soul-singing DONKEY. Mostly known for his turn in PASSING STRANGE, he is certainly one actor in synch with his audience.

As for SHREK himself, d'Arcy James [also MILLIE] has solid vocal chops and a stage presence. In time, I am sure, he'll feel even more comfortable in his new second skin, the green suit, mask and make-up. As for now, he is a very likable but awkward SHREK.

Which is probably the best way to describe SHREK THE MUSICAL itself, as directed by AVENUE Q's Jason Moore, it is certainly likable, far from being a gem and questionable in merit. From all that talent, that's kind of awkward.

C+