Review by Steven Maisonet
Shrek the Musical is a stage musical based on the 2001 cult classic DreamWorks Animation film Shrek, with elements from its film franchise, including Shrek 2 and Shrek Forever After, as well as the 1990 book Shrek! by William Steig. Yes, Shrek was originally a children’s picture book before Steven Spielberg purchased the rights in 1991 and helped produce it into the acclaimed film franchise it is today. #ShrekIsLove #ShrekIsLife.
Shrek the Musical, much like the film, follows Shrek, an ogre who lives peacefully in his swamp until a royal decree by Lord Farquaad evicts all fairytale characters from Duloc’s territory and banishes them to Shrek’s swamp. An independent character bothered by this invasion of privacy, Shrek seeks out Lord Farquaad for clarity, only to find himself recruited by the ruler to rescue Princess Fiona, a fiery redhead from the kingdom of Far Far Away. Fiona has been sent to reside in a dragon-guarded tower to await her one true love.
Accompanied by his newly acquainted companion Donkey, Shrek sets forth to bring Fiona back to Duloc so she may marry Lord Farquaad, whose nefarious and short-tempered plan is to become king through marriage. Through the journey and heartfelt moments, Shrek and Fiona discover they are far more alike than expected. Princess Fiona herself carries a curse that transforms her into an ogre: “By night one way, by day another / This shall be the norm / Until you find true love’s first kiss / And then take love’s true form.” What truly sets this production apart are the subplots, slightly similar to the film, where the fairytale characters find their identities and unapologetically let their freak flags fly.
Directed by Daniel F. Lendzian, with musical direction by Rebecca Kroetsch and choreography by Joey Bucheker and Emily Weber, this production delivers a heightened level of entertainment that provides the audience with nonstop, laugh-out-loud moments from start to finish. The visuals are crafted through a blend of technical stage properties and digital elements, paired with wonderfully designed graphics that add layers of silliness, professionalism, and comedy.
For those who attended the Shea’s touring production of Shrek in 2024, you may find yourself favoring this local production for its joyful casting and the committed character work each actor brings. It is a true marvel of Lendzian’s directorial vision, as he consistently brings fresh perspective and originality to his work. This is especially evident from this writer’s personal experience with Lendzian during Khan!!! The Musical, a Star Trek parody that was recently recognized with a BroadwayWorld Buffalo Award for Best New Play or Musical and was also directed by Lendzian himself.
Starring Nicholas Lama as Shrek, Jake Hayes as Donkey, Audrianna Yates as Fiona, and Joey Bucheker as Lord Farquaad, these leading actors fully commit to their characters and the storytelling. Lama, who seems born for this role, embodied the Scottish ogre’s personality so completely that it felt as if Mike Myers’ Shrek had been pulled straight from the screen and possessed him. His dialect was consistent, clearly articulated, and sustained throughout both acts. Lama brought the house to a chuckle time and time again, with every joke landing and every fart cue feeling authentic. His vocals felt serene and grounded in emotionally charged moments such as When Words Fail and Big Bright Beautiful World (Reprise), while he seamlessly shifted into high-energy numbers like Story of My Life, dynamic duets with Fiona in I Think I Got You Beat, and ballad moments such as Build a Wall. Lama is outrageously and absurdly hilarious in this role. Being green is in, thanks to Wicked, and this green ogre is absolutely defying gravity through this momentous performance.
Audrianna Yates as Princess Fiona was purely charming. What a role to take on when balancing elegance, comedy, and heart. Yates felt authentic in this role, and as a performer, her stage presence is always elevated through technique that effortlessly creates characters who feel timely and empowering, particularly for independent women. Yates blew the house away vocally in fan-favorite numbers such as I Know It’s Today, where three actors portray Fiona at different stages of life: Young Fiona (Piper Gabel), Teenage Fiona (Sam Crystal), and Adult Fiona (Yates), all actresses who stunned in their individual solo performances and harmonious singing. Each transition was carried with technical precision, making this one of the most memorable moments of the show. Yates reached a vocal peak in This Is How a Dream Comes True, where she belted with confidence and clarity, shedding the image of the helpless princess. She brought a sense of care and emotional grounding to Fiona while maintaining strong comedic timing, never overpowering the more overtly comedic characters like Shrek. Yates also opens Act Two with Morning Person, showcasing Fiona’s humor through ensemble interaction and absolutely stunning audiences with a tap dance sequence that highlighted her impressive stamina and dance ability.
Joey Bucheker as Lord Farquaad may be one of the best casting decisions imaginable. Bucheker’s witty personality shone brightly as he committed fully to knee-walking throughout the performance to portray Farquaad’s short stature, an impressive and entertaining feat that also met the demanding choreographic elements of the production. Bravo and flowers to Bucheker for sustaining this choice across multiple performances. He was delightfully farcical in the role, excelling as both the show’s primary comedic force and its villain. Farquaad’s signature bob and costuming were brought vividly to life through Bucheker’s absurd and fearless comedic acting, giving the audience a truly memorable experience. Was he born for this role? It certainly feels that way. Bucheker once again stood out, or rather knelt down, delivering a thoroughly enjoyable performance in technical moments such as riding his wonder horse steed and shining in The Ballad of Farquaad and ensemble-driven numbers like What’s Up, Duloc.
Jake Hayes as Donkey was pure joy. His commitment to the exuberantly comedic character was hilariously impressive as he portrayed Shrek’s magnetic travel companion. His delightful costuming was equally impressive, with a noticeable mane that extended and blended seamlessly into Hayes’ own hair, subtle yet truly effective. Hayes’ endearing delivery and portrayal of Donkey were a pleasure to watch, as he commanded the stage with witty, playful banter. He captured the true essence of the character, standing shoulder to shoulder with the iconic performances of voice actor Eddie Murphy and the original Broadway Donkey, Daniel Breaker.
Hayes’ interaction and playful back-and-forth with Nicholas Lama’s Shrek felt organic, as if the two were longtime companions. This chemistry was especially evident in Don’t Let Me Go and Travel Song, where their shared energy fed effortlessly off one another. Hayes absolutely stunned and blew it out of the park in Make a Move, where we see a more suave Donkey backed by the impressive Blind Mice. It is a soulful, catchy number, and Hayes delivered a performance worthy of lasting memory. Additional standout moments came in Forever, featuring the salacious and sultry Dragon, played by Dasia Cervi, further highlighting Hayes’ range and comedic confidence.
The ensemble cast brought these fairytale and supporting characters vividly to life, beginning with Dasia Cervi as the Dragon, who completely swooned the audience with her powerhouse performance in Forever. Sharing the stage with a puppeteered dragon and slaying in a tight, sparkling red dress, Cervi was truly a sight for sore eyes, eliciting an enthusiastic audience response. She even treated the crowd to a reprise-style moment reminiscent of her previous role as Effie in Dreamgirls, topping it off with a thrilling “You’re Gonna Love Me,” a moment she previously delivered in AnsariSaxon Productions’ Dreamgirls at Shea’s 710. Please feel free to join the unofficial Dasia Cervi fan club. Supporting Cervi in this impeccably executed number were equally impressive ensemble members serving as background singers, adding depth and polish to the performance.
The ensemble featured standout contributions from Merrick Allen (Sticks, Captain of the Guard, Knight), Corey Bieber (Pinocchio, Knight), Sam Crystal (Baby Bear, Teen Fiona, Dwarf, also known as Farquaad’s father), Jessie Ferkin (Queen Lillian, Wicked Witch, Duloc Greeter), Piper Gabel (Young Fiona, The Ugly Duckling), Cody Gooley (Bricks, Knight), Taylor Lee Hall (Shoemaker’s Elf, Blind Mouse), Matti LaVigne (King Harold, Thelonious, Big Bad Wolf, Puppeteer), Ashleigh Chrisena Ricci (Gingy, Sugar Plum Fairy, Blind Mouse), Melanie Stang (Mama Ogre, Mama Bear, Blind Mouse), Christopher Wagner (Papa Ogre, Papa Bear, Pied Piper, Knight), Finn Wahl (Young Shrek, Peter Pan, Puppeteer), and Michael Wells (Straw, Bishop, Puppeteer).
Each ensemble member brought unique charm and specificity to their roles. Corey Bieber fully committed to the wooden boy himself, complete with a technically impressive growing nose when declaring he was a “real boy,” selling the character with a delightfully squeaky Pinocchio voice. Ashleigh Chrisena Ricci shone in her dual role as the playful Sugar Plum Fairy and as the puppeteer for Gingy, impressively transitioning vocally between characters in Freak Flag, adding another layer of difficulty and polish to her performance.
Standout ensemble performances included Melanie Stang, whose velvety, rock-infused voice filled the Shea’s Smith Theatre as Mama Bear and Mama Ogre, bringing warmth and power to both roles. Younger performers Piper Gabel and Finn Wahl delivered fierce, dedicated performances well beyond their years, confidently matching the seasoned cast members around them. Special praise also goes to Taylor Lee Hall, Melanie Stang, and Ashleigh Chrisena Ricci as the Three Blind Mice; Cody Gooley, Merrick Allen, and Michael Wells as the Three Little Pigs; Matti LaVigne as the cross-dressing Big Bad Wolf and the wonderfully committed Thelonious, Lord Farquaad’s loyal right-hand man; and Jessie Ferkin, who was a genuinely inspired choice for both Queen Lillian and the Wicked Witch.
This wonderfully absurd and entertaining production would not be possible without the dedication and management of the technical and supporting crew. Ryan Bradt (Stage Manager) played a vital role in supporting the cast and ensuring smooth transitions, allowing the performers to deliver a successful and cohesive show. Scenic design by Rich Meranto provided a strong visual foundation, while costume designer Timmy Goodman brought the fairytale world to life through imaginative and detailed costuming. Lighting designer Jay Marks skillfully utilized both floor and overhead lighting to transition through colorful, playful landscapes, with a particularly notable lighting moment during Audrianna Yates and Jake Hayes’ interaction behind a shadow screen.
Musically, the production utilized a backing track, which at times felt unbalanced within the space and occasionally overpowered certain performers. However, the show’s stronger vocalists were able to adjust and balance their sound against this technical challenge. There was also a brief technical hiccup during the Friday performance, when a music cue was introduced slightly too early and was audibly called out by a backstage performer. Aside from these minor issues, the show was crafted and executed with care and professionalism.
Special recognition goes to puppet designers Audrianna Yates and Nicholas Lama for the creation of the stunning dragon puppet, as well as to the legendary late Adam Kreutinger, whose design of Gingy served as a beautiful tribute to an iconic master of puppetry. Shrek The Musical, produced by O’Connell & Company, opened on January 15, 2026, and runs through January 25, 2026, at the downtown Shea’s Smith Theatre. Shrek is part of O’Connell & Company’s 2025–26 season, which features an exciting lineup of productions still to come. Be sure to catch this wonderful production before tickets sell out by purchasing tickets at sheas.org or through Ticketmaster.
PERFORMANCE DATES:
Jan. 15 – 25, 2026
Shea’s Smith Theatre
Thursday Jan 22 @ 7:30 pm
Friday Jan 23 @ 7:30pm
Saturday Jan 24 @ 2:00 pm & 7:30 pm
Sunday Jan 25 @ 2:00 pm