Theatre review: Shrek the Musical blends strong song and dance with moving story of belonging
Royal City Musical Theatre’s inventive staging and design help bring classic cast of characters to vivid life
Shrek the Musical. Photo by Moonrider Productions
Royal City Musical Theatre presents Shrek the Musical at Massey Theatre to May 3
BOLD, COLOURFUL, AND full of heart, Royal City Musical Theatre’s Shrek the Musical makes a confident leap from screen to stage under Chris Adams’s direction, with Tanner Zerr, Madison Simms, and Chris Francisque leading the charge onstage. This ambitious production offers great visuals, fun song and dance numbers, and moving musical-theatre storytelling that includes a strong statement on inclusiveness.
Like its source material, the musical follows Shrek (Zerr), an ogre cast out into the world by his parents at the age of seven—a grim but customary rite of passage. Young Shrek (Riley Calderwood on opening night, alternating with Preston Matthew Culili) is warned that his appearance destine him for a life of isolation. Years later, that solitude is disrupted when a parade of displaced fairy tale characters (think Peter Pan, Alice in Wonderland, Pinocchio, and Goldilocks’ Three Bears) from the kingdom of Duloc descends upon his swamp, having been exiled by the tyrannical Lord Farquaad (a delightfully over-the-top Kamyar Pazandeh).
Determined to reclaim his home, Shrek sets off for Duloc, reluctantly allowing the irrepressibly chatty Donkey (Francisque) to join him. Their quest soon expands to include rescuing Princess Fiona (Simms) from a dragon-guarded tower—giving this fairy tale a not-so-traditional turn, at least in the mind of Fiona, who assumes she’s destined to end up with a Prince Charming type.
Visually, this production is a feast, thanks to set coordinator Emily Dotson. A storybook-inspired set, anchored by colourful backdrops and featuring huge theatrical set pieces flying in from all directions, whisk us to locations like Farquaad’s stone castle and Fiona’s lonesome yet picturesque, Rapunzel-inspired tower. Adams’s staging also makes effective use of Massey Theatre’s thrust extension, which curves around the orchestra pit and serves as a creative pathway for the characters’ journeys.
The work of head costumer Caitlyn Baird and prosthetic and makeup designer Juno Millan-Brulé is instrumental in bringing the show’s iconic characters vividly to life. From Shrek’s instantly recognizable green visage to Fiona’s signature gown and Donkey’s cleverly crafted full-body costume, the designs manage to recreate the looks of these well-known characters while allowing the performers freedom of movement.
Zerr delivers a grounded and engaging Shrek, capturing the character’s gruff exterior and underlying vulnerability. His performance builds with emotional sincerity, culminating in a touching rendition of “When Words Fail”. Zerr’s ability to deliver this strong performance while wearing heavy prosthetics and makeup under bright lights and costuming for hours is equally impressive.
Opposite him, Simms is a personable and versatile Fiona, showing vocal strength, comedic timing, and excellent dance ability. Her introduction in “I Know It’s Today,” alongside impressive youth performers Nora Cowan (Young Fiona, alternating with Hannah Durnin) and Alicia Malelang (Teen Fiona, alternating with Kalayna Kozak), is a standout, offering a layered glimpse into Fiona’s backstory.
Simms continues to shine in “Morning Person”, which blends her vocal beauty, balletic grace, and fantastic tap dance skills, culminating in a dynamite choreographic sequence with the charismatic Pier Francesco’s Pied Piper and the terrific ensemble. Choreographer Tracey Power and assistant choreographer Jacq Smith infuse this number with a playful mix of classic Broadway style and cheeky, Fosse-inspired flair. Better amplification of the tap dancing would elevate this number even further.
Shrek the Musical. Photo by Moonrider Productions
The chemistry between Zerr and Simms is both believable and endearing, grounding the show’s emotional arc. Meanwhile, Francisque’s Donkey provides a steady stream of humour. He also gets a moment in the spotlight with “Make a Move”, supported by three sassy Blind Mice executing go-go–inspired choreography that adds a fun retro touch.
Pazandeh’s Lord Farquaad is a comedic highlight. Clever costuming and puppetry create the illusion of Farquaad’s short stature, and Pazandeh delivers a performance that is equal parts pompous and playful. His physical commitment—manipulating the character’s legs while strutting and posturing across the stage—is hilarious.
Other standouts include Alexis Hope, whose powerhouse vocals bring commanding presence to the Dragon, which is fully realized through inventive puppetry. Under the musical direction of Angus Kellett, the orchestra delivers a polished performance of Jeanine Tesori’s score, complementing the cast’s strong vocals and highlighting the wit of David Lindsay-Abaire’s lyrics.
Power and Smith’s choreography, executed superbly by the cast under the stewardship of dance captain Madison Raybould, consistently energizes the production, with “Freak Flag” serving as a joyful centrepiece. Led by Eric Timuss’s delightfully animated Pinocchio (with a nose that indeed grows), the number brings together the displaced fairy tale characters in a celebratory display of individuality and acceptance—its message resonating beyond the fairy tale framework, stamped by the waving of the Intersex-Inclusive Progress Pride Flag.
This moment encapsulates the show’s deeper resonance. Beneath its great visuals and comedy, Shrek the Musical reveals a story rooted in belonging, self-acceptance, and the transformative power of love. As a final flourish, audiences are invited to stay for a post-curtain-call rendition of “I’m a Believer”, sending them out on a high note while reinforcing Shrek the Musical’s message of embracing love in all its forms. 
Shrek the Musical. Photo by Moonrider Productions
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