Nick Berninger and ensemble members in Shrek the Musical
Friday’s opening night at the Timber Lake Playhouse began with Artistic Director Tommy Ranieri enthusiastically bragging about the design team before asking whether it was anyone’s first time seeing live theatre. More than a few hands went up into the air. I was a little surprised that it wasn’t just small children, either; a number of those raising their hands were full-fledged adults, some of whom easily appeared older than I am. It was a gut-check moment and a reminder that art isn’t always everyone’s first choice for entertainment, as it is for me.
But what a show for a first experience.
I’ll tell you, this Shrek the Musical was pretty damn fantastic. Having first seen the musical in New York with the original Broadway cast, I came in with extremely high expectations. Director/choreographer Chaz Wolcott’s production more than rose to the challenge and made for a truly fantastic night at the theatre.
In case it’s been a while since you’ve seen the 2001 Dreamworks movie on which the musical is based, Shrek (Nick Berninger) finds his swamp overrun by fairytale creatures whom Lord Farquaad (Joey Baciocco) has exiled. Determined to get his home back, Shrek strikes a deal with Farquaad: If he rescues Princess Fiona (Emma Wilcox) from her dragon-guarded tower so Farquaad can marry her, his swamp will be returned. Joined by an endlessly talkative Donkey (Carter Minor), Shrek sets off on an adventure set to music by Jeanine Tesori, with book and lyrics by David Lindsay-Abaire.
Ranieri had every reason to brag, because Scenic Designer Chris Rees created a mighty structure atop the Playhouse’s turntable that effectively becomes everything: the swamp, the castle, a bridge, and the tower. Different set pieces and props, designed by Ryan Birnbaum, helped distinguish each location, while Wolcott’s staging made full use of the turntable. (Truly, I think they could have rotated it a little less, and it still would've been great.) The strength of the structure was in how seamlessly cast members could disappear from sight while on it – I’m still thinking about these sublime vanishing acts. Everything was lit impeccably by lighting designer Christopher Wong, and while, sure, there were a lot of expected green hues, there was so much more, and the tech really turned Shrek the Musical into a spectacle of epic proportions.
But the onstage talent in Wolcott’s production also impresses, especially in the relationships between characters – particularly Berninger’s chemistry with his fellow castmates. His slightly reluctant friendship with Donkey feels witty, familiar, and personal. Berninger and Minor play beautifully off one another, and Minor’s performance of “Don’t Let Me Go” strikes the perfect balance between humor and desperation. Minor never lets Donkey become a one-note comic sidekick, always having sincerity beneath the rapid-fire jokes to make his friendship with Shrek feel genuinely earned.
Then there’s Berninger opposite Baciocco. Shrek’s impatience and ferocity contrast beautifully with Farquaad’s cynical arrogance, creating the perfect hero-versus-villain dynamic. Baciocco’s take on the vertically challenged Lord is packed with humor, sarcasm, and relentless ambition. Did I love his rocking-horse steed? I did not. In fact, I don't think it added much humor to the scene. But Baciocco is so fully committed to every ridiculous assignment he's given that he almost makes the rocking-horse bit work.
Nothing, however, is quite as delightful as the relationship between Shrek and Fiona. The enemies-to-lovers trope is strong with these two, and I couldn’t have loved it more. Berninger is always enjoyable to watch. But paired with Wilcox? It’s a bit like magic. Their performance of “I Think I Got You Beat” steals the show, delivering tension, romance, humor, and, yes, bodily functions in equal measure.
Wilcox absolutely shines on her own, as well, effortlessly bringing warmth and authenticity to Fiona, making her easy to root for. Her personal highlight, hands down, is the second act’s opening song, “Morning Person.” The tap-dance break in “Morning Person,” too, was particularly well executed. (Though I will tell you that, in that same song, there’s an Owl I found to be quite confusing and out of place.) That number demonstrates that while Shrek the Musical's four leads are outstanding, they’re unquestionably supported by a powerhouse ensemble. With costume changes aplenty (there are knights, Duloc puppets, fairytale creatures, and rats, just to name a few), the cast has a tremendous amount of visible fun onstage while showing off an equally tremendous amount of talent.
Meanwhile, can I tell you about Dragon, the guardian of Fiona’s tower, who has all the heart-eye emojis for Donkey? The character is sung by the powerhouse Favor Buchi and brought to life through an impressively massive puppet operated by four actors as it meanders across the stage. With four knights providing backup vocals and Donkey desperately trying to avoid being noticed, the stage is bursting with action, and I hardly knew where to look to take it all in. What a treat to see that puppet again later in the show.
Opening night wasn’t without a few small snafus: a costume noticeably ripped onstage; a few body mics didn’t come up quite quickly enough; and a prop sign took a tumble. Yet the cast handled each moment with assurance, never missing a beat. Whether you’ve been a longtime Shrek fan or whether this is your first exposure to the material – or even to live theatre itself! – you couldn’t ask for a better introduction than Timber Lake's Shrek the Musical.
Shrek the Musical runs at the Timber Lake Playhouse (8215 Black Oak Road, Mt. Carroll IL) through August 2, and more information and tickets are available by calling (815)244-2035 and visiting TimberLakePlayhouse.org.
