Shrek the Musical by David Lindsay-Abaire

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Shrek the Musical by David Lindsay-Abaire

Shrek The Musical is a musical written and directed by David Lindsay-Abaire, the story writer who composed the lyrics and melodies by Jeanine Tesori. It is based on the DreamWorks Animation feature Shrek from 2001 and aspects from the sequels Shrek 2 and Shrek Forever After and William Steigs 1990 novel Shrek (Stage Agent, par. 1). The broadway musical production began in December 2008 following a pilot program in Seattle and concluded in January 2010 after a run of almost 12 months (Stage Agent, par. 1). Shrek, the seven-year-old son of two ogre parents, is sent out to earn a living (Stage Agent, par. 3). They tell him that the world will shun him because of his appearance and that the last scene he will see until he dies will be an angry crowd (Stage Agent, par. 3). Years later, a jaded, grown-up Shrek comfortably lives somewhere in a swamp (Stage Agent, par. 3). However, the protagonists peace is broken when a refugee convoy of fantastical creatures arrives on his farm, thus starting his journey (Stage Agent, par. 1). Hence, it is essential to analyze this works various visual and musical aspects.

First, it is vital to consider the stage design and overall atmosphere. An important factor is the specificity of Shrek it is a childrens story, so it is not a difficult task to create fantastic castles without delving into excessive realism. However, through the efforts of Tim Hatley, the lead designer of both the costumes and the stage sets, the overall atmosphere conveys a sense of the fairy tale nature of what is happening. Moreover, a similar opinion is held by the Broadway Theatre Critics Society the designer mentioned above received an honorary award in three categories related to the musicals visual design. Thus, specific details of his work are to be discussed with real examples.

Of particular note is Lord Farquaads castle, in which a tremendous amount of work was done to create a sense of volume in the audience. Such a method was presumably achieved by creating a light illusion, where a static image in the background seemed to continue the shadow cast by the main volumetric frame. At the same time, special attention was paid to the ratio of the number and size of the characters and the degree of furnishing of the scene. In this case, the viewer does not feel cluttered with excessive props, though the scene does not remain empty. The above factors greatly support the entourage and create the aesthetics of the overall performance.

Costume design, in this case, plays a vital role in the success of the musical. When the subject of the production is a fairy tale or fantasy story, the design of the characters should be approached meticulously. The main mistakes made by designers in these cases are absurd makeup and the general visual cheapness of the costumes. Moreover, the discrepancy between the latter and their originals can confuse the viewer since the character may not be recognized. Hatley has done an accurate job of ensuring that the visuals of the stage characters perfectly match their cartoon protégés. The protagonist deserves special attention Shrek, despite the impossibility of the actors outward resemblance, looks extremely convincing. It is possible to recognize the difference only when viewing the performance recording, where the camera people present the viewer with the middle shots. On the other hand, the Donkey presents with its appearance and dissimilarity an element of comic relief, fulfilling its primary function based on the content of the original. As a result, the work done in this direction is also a plus for the musical.

Lighting Design was mentioned superficially in the analysis of the scene setting but is also an essential element of the picture. Because of the specific nature of the story, calm but dreamy tones prevail. Shades of blue, pink, and purple are regularly traced from scene to scene, soothing the viewer and allowing them to apply the concept of disbelief fully. The essence of this state is the conscious rejection of the artificiality of the action being observed and the complete immersion into what is happening to enhance the emotional payoff. Hugh Vanstone, who was responsible for the design of the lighting compositions, tried to use leitmotifs and clever transitions between locations and applied modern technologies such as moving-head LED luminaire. At the time of the first tour, the use of such an advanced system, giving the viewer a point and contour light simultaneously is a distinct plus for the technical component of the production. Hence, one may conclude that professional work was carried out, taking into account all aspects of the spectators perception.

Since the production under analysis is a musical, the composed songs, their performance, and the overall sonic accompaniment play a fundamental genre role, a critical factor that creates a positive trend in this direction is the use of the chorus. It creates additional weight to the songs sung by Isobel Lauber as Princess Fiona and the dancing demonstrated by Rubin Matters as Peter Pan. The overall sound quality on the final recording is also satisfactory; Drama Desk Award with its staff has demonstrated a high level of professionalism. Lindsay-Abaire, responsible for the lyrics, has won numerous Broadway awards. In particular, Story Of My Life and Freak Flag deserve special attention. Based on the factors mentioned above, the audio content of the production was well done.

The quality of the acting is considered a secondary factor in creating a quality musical, but in the case of a fairy tale, whose primary audience is children, it is essential to convince them of the authenticity of what is happening. Shrek, played by Brian dArcy James, is one of the most talented casts in this case. His acting is moderately realistic yet humorous and entirely in contact with the original. Sutton Foster, who took on the role of Princess Fiona, demonstrates not outstanding but acceptable acting credentials when looking closely at the entries, keeping the viewer engaged. Donkey, played first by Chester Gregory and then by Daniel Breaker, turned out to be different but moderately comical and familiar to the books and screen franchise connoisseurs. From this, one may conclude that the main characters are vividly and memorably presented, combined with the costume design creating an element of impact.

Lord Farquaad, on the other hand, represented by Christopher Sieber, is an ambiguous choice. His demeanor and overall appearance are somewhat different from what they are used to, but they complement the story and are a successful image for many viewers. One of the best examples of secondary characters is Pinocchio and the Dragon, played by John Tartaglia and Recipe Lewis Evans. Other characters and extras were not the hallmarks of the production, but they did not serve as a cause for dissatisfaction, complementing the main characters. The above assessments suggest that acting is not the most vital part of the musical, but it does have its brightest manifestations.

In conclusion, the overall impression of the musical I watched was positive. While there were solid points in the design of the locations and characters and the lighting techniques, the acting left an ambiguous impression. However, the music written and performed was the factor that held me and immersed me in the story as an audience member. Shrek The Musical is a joyful, fabulous story that can be recommended for viewing, either live or on tape.

Work Cited

StageAgent. Shrek the Musical (Musical) Plot and Characters. StageAgent, 2018, Web.

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