In translation from screen to stage, oftentimes there is something that is lost in the transition. Yet in adapting animated comedy Shrek for the stage, one can’t help but feel that not only does David Lindsay-Abaire (book and lyrics) expound on the irreverent DreamWorks comedy that competed for the Palme d’Or, but also make a thrilling theatrical spectacle out of it.

Shrek the Musical follows the same story of the original film: green ogre Shrek is enlisted by dwarfish ruler Lord Farquaad to help rescue Princess Fiona. 

Yet in spite of the largely familiar, director Dexter M. Santos infuses a sense of wonder into Full House Theater Company’s staging of Shrek the Musical. Even the most enthusiastic about Shrek gets lost in this production’s charm.

Ebullient, enthusiastic cast

Leading an ebullient cast was Jamie Wilson as Shrek, whose commitment to the bit is entertaining. The enthusiasm the material demands is extremely high, yet Wilson delivers with what’s expected and then some. Simply impressive.

Krystal Kane shines through and through with a sterling turn as Princess Fiona. Her character’s various shifts, may it be the physical or the internal, are done so with effortless charisma. Princess Fiona becomes much more of an endearing character with depth that elicits empathy and laughter, largely thanks to Kane giving it her all.

Almost unrecognizable under the makeup, Topper Fabregas still manages to steal the scene with his audacious Donkey. A character well-known for providing comic relief, Donkey is made all the more hilariously eccentric by Fabregas. He does so much in giving this production its captivating quality.

The stamina of Alfredo Reyes must be commended. Fully committing to the bit by being on his knees for the production’s 2hr 30m runtime, Reyes as the dwarfish Lord Farquaad is devastatingly funny.

Julia Serad is intimidating as the Dragon, bringing an outsized quality fitting for the huge Newport Performing Arts Theater.

Its magnificent ensemble creates and sustains energy throughout. Despite the large ensemble, it never feels too overwhelming or confusing. In addition, the dynamic ensemble deserves the credit for presenting Far Far Away as a world so bursting with life, color, and eclecticism.

This enthusiastic cast, hand-in-hand, make for a collective, infectious presence that maximizes the theatre’s vast stage. 

Maximalist creativity

Building an outsized production of this grandeur is exceptionally difficult. Sheer commitment from its creatives gives this staging of Shrek the Musical vivid hues, mesmerizing sets and puppetry, and vigorous choreography that complement the animated performances of its performers. 

Ejay Yatco’s musical direction is exquisitely lush and full, forming a marvelous harmonious relationship with the cast’s voices. Appropriate sound design from Ceejay Laudato ensures that one does not overpower the other. The work of sound effects designer Arvy Dimaculangan brings pizzazz, the cherry on top, to this grand production. 

Kayla Teodoro’s puppetry is simply awe-inspiring, while prosthetics from Carlos Siongco are wholly believable. Hairstyling and makeup from Mamarhaye Dela Cruz is mighty impressive, especially with the amount of scalps and faces needing work. 

Video projections from the late GA Fallarme are utterly transportive, especially with fleshing out the tremendous output of scenic designer Lawyn Cruz. For a wide theatre as NPAT, their work succeeds in immersing its seating capacity of 1,710 to a fantastical fairy tale. 

Lights from Meliton Roxas tend to overwhelm at times, but it being in service of the production’s scale renders the maximalist lighting design immersive. 

This production retains some of the original Broadway’s production core DNA, particularly in the costumes designed by Tim Hatley. In retaining this vision, Eric Pineda succeeds in honoring Shrek the Musical’s established visual identity.

Choreography by Stephen Viñas also makes sure no one gets lost in the shuffle. In spite of the plentiful performers, the simultaneously coordinated and frenetic choreography keeps the musical’s verve. 

Nostalgia-tinged spectacle

A book from David Lindsay-Abaire takes advantage of the material’s shortcomings. Songs are added to flesh out the characters and delve deeper into their motivations and backgrounds. A theatrical spectacle is also made from it, yet at the expense of the satiric wit that the DreamWorks comedy of the same name has been known for. 

Music by Jeanine Tesori and lyrics from Lindsay-Abaire relish in this spectacle. In turn, Shrek becomes a good time at the theatre for people of all-ages. 

In the two decades that had passed since the original film in the still-lucrative Shrek franchise released, adoration surrounding the ogre has just expanded. Director Dexter M. Santos knew best by leaning into nostalgia that hopefully makes theatre enthusiasts out of its young audiences.

While the bite of the original film is missed, there is no doubt that the sweeping spectacle of this production more than makes up for its absence. Basing from audience reactions, everyone seems in agreement.

Further Information

Shrek the Musical ran from October 31 to December 21, 2025 at the Newport Performing Arts Theater.

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