Fairy tale freaks find harmony in ‘Shrek the Musical’

Enchanted fairy-tale creatures wave their freak flags at Spring Mountain Ranch during Super Summer Theatre’s “Shrek the Musical” in an exuberant presentation by Feral Tale Theatricals.

With music by Jeanine Tesori and book and lyrics by David Lindsay-Abaire, the musical based on the Oscar-winning animated film translates with visual vibrancy to the stage.

Like the beloved movie, it’s a tongue-in-cheek parody of fairy tales and is about embracing the true essence of yourself and others, warts and all.

The cantankerous, solitary ogre Shrek isn’t happy when he finds his serene swamp invaded by misfit fairy-tale folk. The boisterous group has been banished from the Kingdom of Duloc by the bratty Lord Farquaad, who deplores freaks. He’s in denial about being one himself, hobbling around with a chip on his shoulder because of his diminutive size.

Shrek journeys to find this evil lord and reclaim his beloved swamp, encountering yet another outcast, the skittish, chatty Donkey.

Shrek begrudgingly allows him to accompany him on the quest. Along the way a friendship is forged, a dragon is conquered, Princess Fiona is rescued and a love affair blooms.

The show is a complex undertaking, expertly arranged by director Erik Ball. He also wears the hat of costume designer, dressing his fairy-tale characters in lavish clothes and sometimes in furry skin.

The scenic design of Andy Walmsley furthers the mystical fairy-tale theme with clever tall book trees that represent a forest and are magically illuminated by the polychromatic lights of Michelle Harvey. Choreographers Christine Harper and Christian Escobar excellently employ a variety of dance styles from tap to ballet, efficiently filling the stage with fluidity and movement and charming numbers featuring the entire ensemble of creatures. Musical director Toby McEvoy proficiently guides a talented cast through lovely, crowd-pleasing songs.

Ayler Evan as Shrek has the unenviable task of performing while wearing a prosthetic (by Warren Holz). He has a booming voice, giving depth and poignancy to songs such as “Big Bright Beautiful World.” But he falters by being too nice of an ogre. He should be more gruff toward others to hide his pain, then slowly open up and learn to love.

As Princess Fiona, Amanda Kaiser complements Evan well. Their duet, “I Think I Got You Beat,” is a funny courtship competition of ogre-type flatulence and a highlight of the show. Kaiser shows off her lovely voice and dance moves during her solo “Morning Person,” in a tap dance with the Pied Piper and his rats.

Jordan Mazzocato as Lord Farquaad must perform while on his knees to give the impression of a short guy, and he manages to imbue his physicality with humor. The powerhouse singer gives a standout performance on “What’s Up Duloc?” complete with a chorus line of wind-up dancing dolls. His characterization could use more of a snippy attitude, though, to give him more depth.

As Donkey, Coree Davis shines with an endearing, hilarious performance giving full physical manifestation to his fairy-tale freak, hooves and all. His is a beautiful voice, and his solo “Make a Move,” in which he performs with the Three Blind Mice, is especially fun.