Revised: Shrek - The Musical

Editorial Note:

This review has been updated to reflect a more constructive tone and better community theatre values. While the review is still published under a pseudonym, the editorial team takes full responsibility for the content of the original review and stands by the integrity of our review process. We recognise the passion and dedication that goes into all productions and believe that theatre invites feedback. Sometimes that feedback is celebratory, sometimes challenging. In either case, it is a reflection of engagement, not enmity. We believe strongly that critical voices should be part of the conversation—and that such voices should be protected, even when they are uncomfortable to hear. We remain open to dialogue and welcome considered responses from anyone wishing to offer a rebuttal, clarification, or an alternate perspective. That, too, is part of a healthy artistic landscape.

The Milnerton Playhouse

04 June 2025 - 15 June 2025

Shrek the Musical at the Milnerton Playhouse Theatre was an ambitious, heart-filled production that reached for spectacle but struggled under the weight of its technical demands. From the decorated foyer to the costumes and set dressings, the creative team set out to create a playful world that stirred genuine nostalgia for many audience members who grew up with the beloved green ogre and his quirky companions.

Tackling a show of this scale is no small task, and the company gets recognition for its hard work and valiant efforts. While the production faced clear challenges—particularly with sound (missed mic cues, unbalanced levels), lighting (overuse and visual clutter), and scene transitions (frequent, noisy, and exposed crew during changes)—there was no shortage of enthusiasm onstage.

Costuming and makeup, while imaginative, sometimes struggled under the technical pressure, with pieces appearing rushed or not quite complete. Shrek's peeling bald cap was quite distracting. The Dragon, though full of potential, suffered from disconnected staging that weakened its dramatic impact. I was more focused on the singer than the giant purple dragon, so I feel like that was a fantasy moment robbed from us.

Despite these issues, the cast gave it their all. Tamith Hattingh as Donkey stood out with electric comedic timing and confidence. Emma Ferguson’s Fiona and Ethan Saunders’ Farquaad brought flair and charm, while Robert Shenton’s Shrek showed steady presence and promise. Notably, several first-time performers displayed remarkable courage and commitment to being under the spotlights.

The remaining ensemble gave earnest, sincere performances, though at times struggled to rise above the technical noise. With more rehearsal time, simplified tech, and focused staging, this show could truly shine.