Shrek as presented by Fermanagh Musical Theatre

Society name: Fermanagh Musical Theatre

Show name:  Shrek The Musical

Adjudicator Date of Attendance: 22/08/2024

Front of House & Venue

I’m envious of the stunning setting surrounding the Ardhowen Theatre. Nestled in by the river, the views from the front of house are breathtaking, and despite the large glass windows, the foyer feels warm and welcoming. The space is well laid out, and Fermanagh Musical Theatre (FMT) is fortunate to perform in such a facility. The Front of House team matched this warmth with their approach—greeted with smiles and friendly chats, they were clearly on top of their game, ensuring everyone felt welcome upon entering the building.

The theatre’s layout works in its favor, with no bad seats in the house. The intimate setting drew the audience into the world of Shrek The Musical. The production was light, fun, and filled with energy from start to finish.  Every performer on the stage was clearly enjoying themselves, and fully invested in telling the story. The show bounced along, never letting the energy drop, and never missing a beat. All in all, a very enjoyable evening's entertainment.

Direction & Production Sam McElgunn was fortunate to have a talented cast to work with, though that can be both a blessing and a challenge for an inexperienced director. Overall, the pacing and flow of the show were strong, with no awkward pauses or lulls. The production followed a fairly traditional interpretation of the story. However, there were moments where the staging could have been stronger. most noticeably in the first scene with Shrek and the Fairytale characters where most of the scene was spent looking at Shrek’s back as he tried to address all the characters who remained stationary, often hidden, as they delivered their lines.

The concept of having the characters turn the pages of the book was an interesting one and mostly worked, but consistency is key—either all characters should have participated in funky moves while changing the pages, or none at all.

While the principal cast members were clearly talented, I felt Sam could have pushed them further, encouraging more exaggerated fairy-tale emotions and physicality. With each chorus member playing a distinct character, spending time developing their quirks and traits would have elevated the production, pushing the ensemble to maintain their characters throughout the show. Though time-intensive, such work adds layers and depth to a production. Sam clearly has a creative mind, but I’d suggest picking through all the ideas and focusing on the ones that truly serve the show and seeing them through completely.

Musical Direction & Orchestra Moya Sweeney’s band was tight and well-rehearsed, with no missed cues or timing issues. She held them tight, feeling the ebb and flow of the show throughout. The tempos fit the energy of the show, bouncy when needed and held back when appropriate, always in sync with the action on stage. However, the balance between electric and acoustic instruments was an issue. This meant some of the score’s clever harmonies and instrumentation were lost.

Vocally, the principals were strong throughout, handling the range of songs with ease. The chorus was equally tight, with well-rehearsed harmonies that blended beautifully. It helped that each cast member was mic’d, allowing every vocal moment to be heard clearly.

Choreography Choreographers Chloe Martin and Cara Murphy delivered well-rehearsed routines with clean lines and high energy. It was evident that the cast had been drilled. Given their youth, I believe they could have been pushed even further. When youth is on your side, you can afford to take more risks with the complexity of the routines.

There were some standout moments in the choreography, particularly the quirky "What’s Up Duloc" and the comedic "Ballad of Lord Farquaad." The use of fans in "Forever" was inventive, though I would have loved to see even more of them. Overall, the choreography flowed smoothly within the scenes, never feeling out of place or forced, though I suspect the cast has more to give if challenged further.

Leading Principles

• John Og Cathcart (Shrek): John captured Shrek’s softer side well, especially in the second act when his character falls in love with Fiona. He has a lovely tone to his voice and didn’t shy away from the bigger moments in the songs. However, I didn’t quite feel the full extent of Shrek’s annoyance, frustration, or anger, which would have provided more contrast between his gruff exterior and softer interior. John struggled a bit with the shoes, and I wonder if a different interpretation of Shrek’s physicality—perhaps using wider, more padded elements—could have avoided the awkwardness caused by the extra weight of the platform soles.

• Blathine Smith (Fiona): Blathine was full of energy and comedy, easily switching between Fiona’s petulant child-like moments and her princess persona. Vocally, she sometimes slipped into nasal tones that were a little sharp, but there was no question about the power behind her voice. Confident on stage, Blathine led us through Fiona’s story arc with enthusiasm.

• Clodagh Sweeney (Donkey): Clodagh was clearly comfortable with Donkey’s physicality, showing her experience as a performer. Singing in a male vocal range can be tough for someone with a female voice, but Clodagh handled it with ease. Her comic timing was spot on, though I would have liked to see her push even further, especially in her interactions with Shrek, really bringing him to his breaking point.

• Odhran Sweeney (Lord Farquaad): I was delighted to see that Lord Farquaad was played kneeling, and Odhran’s portrayal was often hilarious. However, his costume and wig frequently needed adjustment, which distracted from his otherwise strong performance. Vocally, he was a great fit for the role, moving through his numbers with ease.

Supporting Roles

• Amy Bogue (Teen Fiona) was a standout, with some of the strongest vocals on stage. She commanded her role well but also blended seamlessly into the chorus when required. I look forward to seeing more from her in future productions.

• Niamh Maguire (Young Fiona) handled her part well, though her more mature vocal and physical presence made it harder to believe she was the youngest version of Fiona.

• Harry Parkinson (Pinocchio) impressed with his ability to sing in a high register without ever dropping it, and his physical portrayal of the puppet was spot-on.

• Niall Kerr (Gingy) did a fantastic job handling the puppet, maintaining focus on the puppet rather than himself, and his falsetto singing never wavered.

• Nadia Stenson (Dragon) managed the role vocally, but I missed the sass and swagger typically associated with the character, leaving me feeling that there was more untapped potential there.
  

Chorus/Ensemble

The chorus was vocally strong, with harmonies blending well and no individual voices dominating. This is a clear sign of a well-rehearsed group. Movement-wise, they worked well together, though some of the less experienced performers occasionally lost their character when they weren’t the focus. Maintaining those individual traits throughout would enhance their performances. Still, the cast looked like they were having a great time on stage, and their energy was infectious.

Stage Management & Set Design

Stage transitions were inconsistent, ranging from cast-led changes to blackouts and half-blackouts with visible stage crew. My advice here is to pick one style of transition and stick with it. The set design also suffered from a lack of cohesion. While there were some standout pieces—like the book, the fireplace, and the cloths—others lacked the finishing touches that would have tied everything together. Consistency in painting style and either fully embracing the function form of, or completely hiding, the steel deck would have improved the overall look.

Technical

Lighting was a disappointment. I spent the first 15–20 minutes wondering if there was any color in the lighting at all, and when it did appear, it felt too late. The difference in levels between upstage and downstage was also jarring, as characters would suddenly get brighter or darker depending on their position.

Sound balance was an issue. There was a noticeable difference between the electrical instruments, and the acoustic instruments, leaving the overall sound a bit thin at times.  While every member of the cast was mic’d and the balance of vocals was good, there were numerous missed cues, which even after multiple performances was noticeable. 

Costumes, Hair & Makeup

Costumes were hit and miss. Pinocchio and the Dragon’s wings were well executed, but others, like the Witch and Cheshire Cat, needed more detail to elevate them to fairytale status. Fiona’s costumes were two sizes too big, which was distracting and detracted from the character. Wigs, with the exception of Lord Farquaad’s, were good, though Shrek’s crochet cap could have been improved with a bald cap.

Adjudicators comments and suggestions

This production had many strong creative ideas, but attention to detail and consistency would push it to the next level. Attending some technical and production focused workshops, as well as bringing on assistants in some departments would help address this. The young cast showed great potential, and with further challenges and refinement, they could produce something truly exceptional. A fun and enjoyable show that, with a few improvements, could reach even greater heights.

Therese Maher

Sullivan Adjudicator 2024/2025