UCL’s Shrek: The Musical – Redemption of Short Kings?
To every girl who’s ever got a bob and been told she looks like Lord Farquaad, UCL Musical Theatre Society’s uproarious production of Shrek: The Musical might just make you embrace the insult. Mary McHarg's hilariously tyrannical turn as Farquaad made it clear that being short in stature and big on anger is a power move. But this isn’t just Farquaad’s show — the chaotic rendition of the ogre’s tale, directed by Tom Hughes, had the audience laughing, clapping, and occasionally questioning their moral compass from curtain to closing.
As the very first note rang out, it was clear this wasn’t going to be your average fairy tale. Shrek’s parents kicked off the action with a cheerful send-off, gaily singing “Time to Go Away” before metaphorically yeeting their green spawn into a life of solitude.
Enter Shrek: a rotund, fake-nosed, bright-green vision, courtesy of an unrecognisable Oliver Sykes, who absolutely inhabited the role. His Scottish accent was nothing short of a linguistic marathon, holding firm through impressively belted musical numbers.
The ensemble of fairy tale misfits brought a new level of absurdity to the show; The German Three Little Pigs’ were, naturally, a crowd-pleaser, while Pinocchio’s comic delivery, and the Gingerbread Man’s solo left a lasting impression. And, of course, an honourable mention must go to the Clockwork Person, who ultimately brought the house down with an extended screaming and coughing episode that earned its own round of applause (fingers crossed her vocal chords survived the weekend).
And then there was Farquaad.
McHarg's depiction of Farquaad, an insecure short king with daddy issues (or basically any guy in the UCL Economics Society) was riotous. Her commitment to the role was clear from the onset - as she stayed on her knees the full show, braving a wealth of musical numbers with great comic timing. With eyebrows that could give RuPaul a run for his money, and a demeanour that evoked the drill-sergeant stylings of Abby Lee Miller (“You missed your cue!"), this diva reigned supreme. The sexually charged energy between Farquaad and Thelonious (Farquaad's Second-in-Command, who was clad in what can only be described as an S&M style harness) was an additional highlight, reaching its peak in a faux-marriage scene - a display so camp that it probably needed its own health warning.
Of course we can't forget the Dragon, whose powerful vocals made her unrequited crush on Donkey both hilarious and oddly relatable — especially as she belts out, "I'm no princess but he wants me," which, let’s be honest, is something most of us have convinced ourselves of at one point.
Donkey was played by Tumo Reetsang, who brought riotous physicality and sharp timing to the role. Parfait-related gags were met with laughs, whilst speculations' on Farquaard's ‘sword’ size, garnered uproar. Whilst Donkey's performance did indeed have the audience in stitches, his more poignant moments (including him reassuring Fiona she isn't a hideous beast) made for a remarkably well rounded portrayal of the beloved character. Fiona meanwhile navigated the chaos with the voice of an angel — if angels occasionally let out impressive vocal growls. Sophia Mencattelli's ability to toggle between princess-y charm and unhinged ogre energy was commendable - the casting here was very well done.
Something that really sets this performance apart however, is its non-conforming nature. The show is somewhat pioneering in its breaking of norms, with a gender-swapped Farquaad, a princess who is far from placid, and a big bad wolf who takes #Baddie to a new level in a satin nightgown. During a particularly touching moment, Fiona is depicted to be growing up by representing three ages through three girls of different ethnicities. And of course, the resounding message, that appearance doesn’t define worth, is surprisingly well-integrated into the comedy, with a balance maintained between uproarious belters and more touching ballads. And in spite of various fairy-tale items being thrown on the orchestra’s heads, they were the ones who ultimately, and very successfully, brought this varied score to life.
It would be remiss to not credit the work of the costume and set departments. My personal favourite had to be the dragon-head set piece. But there were also several beautifully done sets, and every single costume stood out in its own right. Right down to the Shrek ears worn by the orchestra, it was clear a lot of thought had been put in by the costume department.
Despite the very talented cast, one thing we wanted to highlight was the sound mixing - it was occasionally difficult to hear exactly what each character was singing, especially during certain songs. This was a shame given the evident talent of the cast, and maybe something to think on for future shows at Bloomsbury Theatre.
Nonetheless, the success of the show was confirmed by the audience reception; as one viewer put it - 'the entire ensemble deserves an Oscar' - high praise indeed. Multiple audience members commended Reetsang's hilarity - with one girl calling him a 'breakout star'. We agree - he is definitely one to watch.
Ultimately, UCL’s Shrek: The Musical was an irreverent performance. The chemistry between the cast was palpable, although we aren’t sure if this can be attributed to just the acting. Still, whether it was the sexually ambiguous undertones of Farquaad’s court, the anarchic spirit of the fairy-tale misfits, or Donkey's hilarious line delivery (see: "You're not that ugly") each new moment brought laughs. In fact, if laughter is the best medicine, consider this show a prescription-strength dose. And remember, if anyone ever calls your Farquaad again, embrace it. A short king with a great sense of humour? Yes please x