Podcast Summary: "Why did the critics hate SHREK the musical?! | A review roundup for the London return of Shrek"
Episode Release Date: August 13, 2024
Host: MickeyJoTheatre
Introduction
In this episode of MickeyJoTheatre, host Mickey-Jo delves into the contentious reception of the London return of "Shrek the Musical" at the Hammersmith Apollo. As a seasoned theatre critic with a substantial following, Mickey-Jo provides a comprehensive analysis, blending his personal review with a roundup of opinions from various critics to unravel why "Shrek the Musical" has garnered significant criticism upon its recent revival.
Host’s Personal Review
Mickey-Jo begins by sharing his initial experience attending the UK tour of "Shrek the Musical" at the Wimbledon Theatre ten months prior. Despite his enthusiasm for the musical's premise and its clever adaptation of the beloved DreamWorks film, he expresses profound disappointment with this particular production.
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Honest Appraisal:
“I gave it an entirely honest to my experience, two-star review. At the time, I probably said I hated it. Which, yes, is an extreme word to use.” [00:00] -
Criticism of Professionalism:
Mickey-Jo reflects on past criticisms regarding his attire during reviews, emphasizing his commitment to honest and unabashed critique. -
Pushback from Cast Members:
He recounts facing resistance from cast members who felt his negative review could deter families and children from enjoying the show.
“What I'd like to do with these reviews is to kind of demystify a lot of the language that gets used in professional arts criticism and just say what people really think of things...” [Throughout initial segments]
Review Roundup: Critic Opinions
Mickey-Jo systematically presents critiques from notable reviewers, highlighting recurring issues and diverse perspectives.
Anya Ryan, The Times
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Overall Verdict:
“A one star calamity dressed in nauseating green.” [05:30] -
Specific Criticisms:
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Performance Quality:
“Abysmal singing and monstrous acting.”
Princess Fiona’s portrayal is deemed “squeaky, excruciating,” and Shrek’s Scottish accent is described as “iffy at best.” [08:15] -
Set Design:
Philip Whitcomb’s designs are criticized for being “garish” with reliance on “blurry video footage.” [10:45]
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Theo, What's Onstage
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Creative Choices:
Emphasis on perceived cost-cutting measures, such as removing child actors and substituting physical elements with unfocused projections.
“It mostly feels like a cost-cutting exercise.” [15:20] -
Character Development:
The alteration of Lord Farquaad’s character from a physically diminutive antagonist to a “camp closeted gay man,” lacking the original comedic impact. [18:50] -
Sound and Acoustics:
The vastness of the Eventim Apollo’s stage leads to poor sound quality, making lyrics hard to discern.
“You'll be doing well if you can make out even half of David Lindsay Aber's lyrics.” [22:30]
The Telegraph
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Commercial Over Creativity:
The production is labeled as a “cheap attempt to cash in on a cult favourite,” suggesting a decline from previous iterations. [25:10] -
Performance Highlights:
Positive notes on Sharice Richards’ portrayal of the Dragon and Todrick Hall’s performance as Donkey.
“Sharice Richards has powerhouse vocals that momentarily lift the production.” [27:00]
London Theatre (Aliyah Alhassan)
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Set and Design Critique:
The set is seen as “visually underwhelming” for the expansive venue, with an over-reliance on projections that distract rather than enhance. [30:45] -
Performance Dynamics:
Mixed reviews on the chemistry between Anthony Lawrence (Shrek) and Joanne Clifton (Fiona), with particular praise for Charisse Richards and Todrick Hall.
“Anthony Lawrence's singing is the best part of his performance.” [33:20]
Time Out (Kiara Wilkinson)
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Legacy vs. Execution:
Despite the strong cultural legacy of Shrek, the musical fails to capture its original magic.
“You'd be forgiven for thinking that anything Shrek related would be good, but you'd be wrong.” [35:50] -
Humor and Appeal:
Excessive reliance on toilet humor and topical jokes falls flat for older audiences, while children remain entertained.
“There are plenty of rude burp and fart scenes, and the casting of singer-songwriter Todrick Hall... garnered genuine laughs.” [38:15]
The Guardian
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Musical Score:
The score is deemed “not the most memorable,” with the witty lyrics being lost amidst poor acoustics.
“The show becomes bogged down by its sludgy monotony and often unmemorable songs.” [40:30] -
Character Adaptation:
The transformation of Lord Farquaad lacks depth, leaving him a “one-dimensional villain.”
“He has been played in the past by an actor on their knees. That's not the case here.” [42:00]
Common Themes in Criticism
Across the reviews, several recurring issues emerge:
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Set and Sound Design:
The vastness of the Eventim Apollo venue negatively impacts both visual and auditory elements, making the production feel stretched and the lyrics hard to follow. -
Character Portrayals:
Changes to Lord Farquaad’s character and Fiona’s portrayal have been met with mixed reactions, with critics citing a lack of chemistry and depth. -
Humor and Appeal:
The shift towards toilet humor and topical jokes caters more to children, alienating older theatre-goers who seek more nuanced comedy. -
Performance Variability:
While certain performances, notably Sharice Richards as Dragon and Todrick Hall as Donkey, received praise, others were criticized for lacking impact and energy. -
Adaptation vs. Original:
Many critics feel the musical fails to live up to both the original film’s charm and previous stage adaptations, citing a loss of wit and depth.
Host’s Final Thoughts and Conclusions
Mickey-Jo synthesizes the critical reception, expressing perplexity over why this production failed to meet expectations despite the talent involved.
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Appreciation for Individual Performances:
Acknowledges standout performers like Sharice Richards and Todrick Hall but emphasizes that their strengths couldn't compensate for broader production shortcomings. -
Venue Limitations:
Criticizes the choice of the Eventim Apollo for such a production, arguing that its size inherently detracts from the theatrical experience.
“I do wish that people would stop producing theatre in the Eventim Apollo. I don't think it's really fit for purpose.” [50:00] -
Encouragement for Quality Theatre:
Advocates for supporting higher-quality theatrical productions, especially those that offer enriching experiences for the entire family rather than just entertaining children.
“I also have to advocate for theatre of quality.” [53:45] -
Call to Action for Listeners:
Invites listeners who have seen the production to share their opinions and encourages those seeking outstanding theatre to explore other offerings.
“If you are a huge fan of Shrek and you still want to go and see this production, I encourage you to go and find out for yourself.” [58:30]
Conclusion
The episode "Why did the critics hate SHREK the musical?!" offers an incisive examination of the recent London revival of "Shrek the Musical," highlighting significant criticisms from both the host and external reviewers. While acknowledging the efforts of talented performers, Mickey-Jo underscores the overarching issues with production choices, venue suitability, and adaptation fidelity that have led to its lukewarm reception. This comprehensive review serves as a cautionary tale for theatre productions aiming to balance commercial appeal with artistic integrity.
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