by Kevin Shaw | photos courtesy of Theatre Memphis
When you’re a parent, you often do things you’d rather not do, but you do them out of love for your children—change dirty diapers, stay up all night with a crying baby and sit through children’s movies/cartoons. You realize time with your kids is limited, so you “bite the bullet” and do it anyway. As a father of boy/girl twins who are about to turn 12, I’ve probably spent literally thousands of dollars sitting/sleeping through almost every animated movie to come out since 2005. As much as I’ve tried throughout the years to find something to appreciate about these films (in an effort to stay awake), I’m usually asleep upright in a movie seat about 45 minutes later. At almost $50 a film (when you include our admission and concessions), I could have purchased a small car with these naps, but it was still worth it. Why? Because it made my children happy and that’s what art is supposed to do. If you asked me what any of these movies were about the next day, you’d be met with an eternal blank stare, but I’m almost certain they all began with a “crisis” and ended “happily ever after.” So, when I heard that Theatre Memphis was going to be producing Shrek: The Musical to open their 2017-2018 season, a little piece of me winced in parental obligation. I knew my son was going to want to see it, so I prepared myself for a night of theatrical Ambien. Much to my surprise (and shock) by intermission, I was more alert than I had been all day. You see, unbelievable performances combined with top-notch production values invigorate theatregoers like nothing else and that’s what Shrek: The Musical served up—burps and all! The story about a lonely ogre who falls in love with a princess only to have her ultimately love him in return is about as unoriginal as stories come, but it’s the execution that counts and this show unabashedly executes!
If you haven’t noticed, Theatre Memphis has quickly become the premiere venue for the best of what Memphis theatre has to offer. This COMMUNITY theatre has somehow managed to outdo their professional counterparts down the road by cultivating talent and letting them play to their strengths. I’m not sure if Theatre Memphis is picking their seasons based on their available talent pool or vice versa, but Shrek (which opened this past weekend) hired the perfect director, who collaborated with the perfect choreographers and designers and then cast the perfect talent which culminated in one of the most enjoyable nights of theatre I’ve experienced in years! Every member of this production team (cast and crew) have made horrible career decisions if they aren’t performing and creating full time. Again this is COMMUNITY theatre—that place where people have “day” jobs and only gather to “put on a show” for fun, right? They didn’t get the memo–someone needs to tell them they aren’t supposed to be this good.
Under the flawless direction of Cecelia Wingate, this perfectly cast production never takes itself too seriously and knows how to have fun. The versatile (and one of the best ever seen in Memphis) ensemble plays a multitude of characters (from Peter Pan to Pinocchio to Tap Dancing Rats to Three Blind Mice) and there is literally not a weak link in the bunch. With pathos, Justin Asher as Shrek successfully (under all that make-up) conveyed playfulness and love. His quieter moments in song were beautifully tender. Lynden Lewis Jones as Fiona was masterful in exacting her timing whether it be in song, humor or love. Combined with an amazing singing voice, her “throwaway” and “underplayed” moments were hilarious and kept you on the edge of your seat. Likewise, the other two Fionas (Hattie Mae Miller and Katie Bennet) were perfectly cast—which bodes well for the future of Memphis’ theatre community. Cordell Turner’s portrayal of Donkey garnered plenty of laughs, but came up short in song (consonants should always trump vowels so that we can understand the words) and Barry Fuller (as usual) offered a delightful cameo at the very last minute. As good as all these performers were though, the show was almost completely stolen by Kevar Lane Maffitt as Lord Farquaad and Anne Freres as Dragon. Walking, dancing and “kicking” completely on his knees, Maffitt was more Fey than Tina and gave a fearless performance that somehow stood higher than everyone else on stage. You won’t be able to take your eyes off him. In the ability to “blow” (sing) category, Jennifers Holliday AND Hudson can’t touch Freres vocal rendition of “Forever” (accompanied by dancing old men in pillories) that almost (and should have) stopped the show. I don’t recall ever actually attending a musical where a performance literally stopped the show, but it was obvious that the audience wanted to leap to their feet after this earth-shattering number. No matter how much you pay to see this show, “Forever” will make it all worth it. Jordan Nichols and Travis Bradley’s choreography was fun, inventive and TIGHT (impeccable precision); Amie Eoff’s costumes are certain to outshine any show you’ll see in Memphis this season; Jack Yates’ scenic and property design were Broadway caliber (wait till you see that dragon!); and Jeffrey B. Brewer’s musical direction and orchestra is (once again) masterful.
Every few years a production team comes together in perfect harmony and it’s truly magical. When an audience is fortunate to witness such an event, it reminds everyone how exhilarating live theatre can truly be. For those younger ones in the audience (and onstage) experiencing such moments may prevent you from realizing how rare they can be. Don’t take them for granted because they may never happen again. Go see Shrek: The Musical! Parents, take your kids. Kids, take your parents. Yes, it’s about a green ogre who passes gas and is not very attractive, but that’s not the point. It’s about experiencing something magical that, like a solar eclipse, may not happen again in your lifetime.
Grade: A+
Now through September 10th
