Shrek as presented by Fermoy Musical Society

Society name: Fermoy Musical Society 

Show name: Shrek 

Adjudicator date of attendance: 03.11.24

Brief Overview of Show and Evaluation of Front of House 

Fermoy Musical Society’s production of Shrek on Gala night provided a delightful and immersive experience right from the moment patrons entered the venue. The front of house was transformed into the whimsical world of Duloc, with beautifully decorated corridors and a mini set where audiences could take photos with the characters. This creative touch set the tone for a fun-filled evening. On Gala night, the catering was exceptional, adding a festive and personal atmosphere that further enhanced the overall experience. 

Director – Direction and Production 

Killian Collins’ direction brought many strong moments to Shrek, particularly in terms of character development and humour. The pacing was effective throughout most of the show, and the relationships between characters felt well-developed, giving the production emotional depth. However, the final scene faltered due to poor blocking, which undermined its impact. The absence of the sunset reference in the climax was noticeable, leaving the wrap up of the story lacking. The Dragon, which should have been a key visual spectacle, was unfortunately not visible to the audience, diminishing its intended grandeur. The decision to have Gingy portrayed by two different puppets operated by two different performers seemed awkward, as it created inconsistency. Additionally, while the idea of a dragon puppet had potential, its execution was not as fluid or dynamic as one would expect for such an important character. Overall a delightful interpretation of the Disney classic, that was entertaining and enjoyable throughout. 

Musical Director – Direction and Orchestra

Ronan Holohan’s direction of the orchestra showcased a talented group of musicians, with particularly impressive instrumental performances. However, the orchestra was occasionally too loud, particularly the brass section, which overpowered the vocalists, making it difficult to hear soloists even from the fourth row. While the chorus performed well and provided a punchy, well-rehearsed vocal presence, balancing the sound to ensure the voices of soloists could be heard more clearly would improve the overall experience. 

Choreographer – Choreography 

Therese O’Sullivan’s choreography was one of the highlights of the show. The dance numbers were lively, energetic, and tailored to the cast’s abilities, adding a delightful physicality to the production. The choreography was clean, well-executed, and effectively contributed to the pacing and energy of the show. However, one particular number “Forever” felt disorganized and didn’t contribute meaningfully to the storytelling. The choreography here appeared chaotic and detracted from the flow of the show, but all the other dance numbers were engaging, creative, and really well-performed. 

Leading Principals – Singing and Acting 

Shrek (Ian McGuirk): Ian delivered a strong portrayal of the iconic green ogre. His voice was beautiful, with a rich, pleasant tone, especially during the softer moments. He developed the character’s arc well, showing real growth. While his interpretation leaned into a more “laddish” version of Shrek, which worked well, it didn’t fully capture the darker, more intimidating aspects of the character. His anger could have been more commanding in certain moments, but his softer side was particularly endearing. 

Fiona (Lisa Feerick): Lisa’s portrayal of Fiona showcased a strong vocal performance, but there was room for more contrast in exploring Fiona’s dual personality. Her physicality was excellent, and she was clearly comfortable on stage. The chemistry 

between Fiona and Shrek was strong, but the transition through I Got You Beat felt somewhat abrupt; a more gradual build could have enhanced the moment. 

Donkey (Jack Fitzgerald): Jack’s interpretation of Donkey was outstanding. His vocal control and facial expressions were excellent, and he brought a vibrant, comedic energy to the role. He expertly captured the nuances of the character, maintaining his energy even in scenes where he wasn’t the focus. His comedic timing was perfect, and he brought humour and heart to every moment. 

Lord Farquaad (Diarmuid Vaughan): Diarmuid’s portrayal of Lord Farquaad was thoroughly enjoyable. He embraced the character’s prissy, pompous traits with ease, providing a performance that was both entertaining and comedic. His vocal performance was strong, and his physicality— particularly while kneeling— was impressively fluid, adding to the humour of the character. 

Dragon (Rebecca Flavin): Rebecca’s vocal performance as the Dragon was impressive, with a powerful range that was effortlessly executed. However, her performance lacked the personality and sass that is typically expected of the Dragon. The character is known for its confidence and flair, but Rebecca’s portrayal felt reserved and didn’t bring the expected vibrancy. While this could have been a directorial choice, it did detract from a character that could have been a show-stealer. 

Supporting Roles – Singing and Acting 

Young Fiona (Lauren Daly): Lauren’s portrayal of Young Fiona was charming and mature beyond her years. Despite the challenge of performing alongside older actors, she held her own with poise and confidence. Unfortunately, some sound imbalances meant that her voice wasn’t always audible, particularly at the end of the trio.

Teen Fiona (Florence Dewhurst): Florence’s Teen Fiona showed promise with a lovely stage presence and a strong voice. She portrayed Fiona’s vulnerability and longing well, and there is great potential for her to further develop into an even more powerful performer in future productions. 

Gingy (Orla O’Dwyer): Orla’s portrayal of Gingy was enjoyable, with strong vocalisation throughout. However, it was puzzling that she did not puppeteer Gingy in the first instance, which felt inconsistent and may have confused the audience. A more cohesive approach to puppeteering would have strengthened the character’s impact. 

Mama Ogre (Colette Daly) 

Niamh delivered a performance filled with a strong and commanding presence. Her voice carried a sense of authority and maternal depth that resonated well with the character. She effectively conveyed Mama Ogre’s motherly instincts, which made her decision to kick her son out at age seven feel all the more dramatic. 

Papa Ogre (Andy Armitage) 

Donagh brought a soothing quality to Papa Ogre with his pleasant vocal delivery. His focus was primarily directed downward toward his son on the floor, which limited his engagement with the audience. While this made his interaction with his son feel intimate and sincere, it created a disconnect with the audience. A greater effort to lift his gaze and share his emotions with the audience would have enhanced his performance. 

Pinocchio (Freddie Dewhurst) 

Freddie offered a consistent and well-executed portrayal of Pinocchio. His commitment to voicing the character was commendable, maintaining the high-pitched tone throughout without faltering. This effort to sustain the voice may have slightly affected his volume. His characterisation was charming and believable, effectively capturing the physicality of a “wooden” boy with detailed and deliberate movements. 

Bishop (Tom Beresford): Tom Beresford’s portrayal of the Bishop was understated but lacked the gravitas that the role needed. Additionally, there were some issues with the character’s accent work, which needed more consistency. 

Chorus/Ensemble – Singing, Acting, and Choreography 

The chorus was vibrant, energetic, and brimming with enthusiasm. Their singing was strong and polished, and they brought the fairytale characters to life with distinct personalities. Whether portraying the eccentric fairytale characters or the uniformed citizens of Duloc, the chorus’s performances were well-synchronised and engaging. Their commitment to each scene was impressive, and they contributed significantly to the show’s dynamic energy. The choreography and blocking were thoughtfully designed, with movements that helped maintain the flow of the show while also contributing to the storytelling. 

Stage Management & Set Design 

The set design was highly creative, featuring modular trucks that should have allowed for efficient scene transitions. The set pieces were beautifully painted and carefully crafted, with attention to detail. However, the scene changes were slow and caused pauses that interrupted the flow of the performance. Given the modular set design, it could have been more effective if the cast were choreographed to move the pieces, which would have added a layer of stylized movement and kept the energy up. 

Technical – Lighting and Sound 

The lighting was mostly effective, though there were some technical issues that affected the overall polish of the production. A significant problem arose during the scene 

leading up to Forever and during the song itself, where technical difficulties resulted in much of the action taking place in darkness. The lighting lacked the finesse required to highlight key moments, and the follow spot was problematic, often failing to hit its mark 

and moving erratically across the stage. A second follow spot could have been beneficial for several songs to ensure key characters were consistently illuminated. 

Visual – Costumes, Hair, and Makeup 

The costumes were impressive, with a great deal of attention to detail. The fairytale characters’ outfits were particularly well-designed, capturing the essence of each character. The Duloc citizens’ costumes provided a uniform and cohesive look for the town. However, Shrek’s costume didn’t fully convey the character’s large, imposing presence, as the padding seemed insufficient to create the desired effect. While the makeup was overall detailed and well-executed, Shrek’s makeup had some inconsistencies. His cheeks could have been shaped more to create a rounder look, and there was a noticeable mismatch in skin tones between his face and hands. Additionally, his legs were left unpainted, which detracted from the overall effect. 

Adjudicator’s Suggestions and Final Thoughts 

The production had many standout elements, and with some attention to detail, it could be elevated to a higher level. Improving scene changes, ensuring consistent lighting, refining technical aspects, and maintaining energy during the more chaotic moments would enhance the overall experience. Additionally, ensuring consistency in costuming and makeup across all characters would contribute to a more polished production. With these adjustments, Fermoy Musical Society has the potential to create something truly magical in future performances.