As an NSTA representative, I had the immense pleasure of watching the vibrant Bangkok Prep School production of Shrek the Musical Jr, performed on Wednesday 11th and Thursday 12th February 2026. Under the excellent direction of Amy Hurst, with musical direction by Simon Green and spirited choreography by Alex Cooper, this production was a colourful and energetic celebration of individuality and theatrical craft.
Shrek the Musical Jr. is a youth-friendly adaptation of the 2001 DreamWorks film, featuring a book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori. The narrative follows a grumpy but misunderstood ogre whose swamp is invaded by a motley crew of fairy-tale refugees. Joined by a wisecracking Donkey and a fiercely independent Princess Fiona, Shrek embarks on a journey that challenges the traditional “happily ever after.”
From the outset, it was clear that the visual ambition of this production would be a standout feature. Bonus Xuto’s set design immediately established a storybook aesthetic, anchored by an imposing, oversized prop book opened and rolled onto the stage by the narrators (Prim, Layla, Khushi, Advika, Yaashna, and Bhuvi). This set piece, emblazoned with “Once Upon a Time…”, acted as a beautiful framing device for the narrative. Presented on a proscenium stage, the use of draped blue and green fabric to evoke mountain ranges was executed with great artistic flair. The meticulously painted flats added a vital sense of “place,” while thrust staging elements jutting out around the pit orchestra created dynamic levels and allowed the performers to engage more intimately with the audience. The presence of a professional “Swamp Band” in the pit provided a sophisticated musical foundation, while the atmospheric use of dry ice and Bell Tipsuk’s thoughtful lighting design gave the production a polished, professional sheen.
The costume and make-up design by Kate Prior and Jamie Keightley was fantastic. The green prosthetics for Shrek and Fiona were of a high standard, and the fairy-tale ensemble was vividly characterised. Mita’s Donkey suit added to her physical comedy wonderfully with the springy donkey ears and hooves. Pinocchio’s extending nose and “wood-grain” make-up added a delightful touch of humour, while the subtle aging of Fiona’s dresses across the trio in “I Know It’s Today” showed great attention to detail.
Alexander portrayed the title role of Shrek with an impressive level of confidence. Bursting onto the stage in “Big Bright Beautiful World” he maintained a commanding presence throughout, concluding with a sensitive and delicately delivered reprise. His “deadpan” comedic delivery allowed his lines to land with natural wit. Most notably, his soulful vocals in “I Think I Got You Beat” served as a musical highlight, showcasing a rich and expressive range.
Mita’s portrayal of Donkey was, quite simply, spot on. Adopting an Eddie Murphy-inspired accent and flamboyant physicality, she captured the character’s manic energy with precision. The “Travel Song” duet between Alexander and Mita was an irresistible highlight; their chemistry was palpable, and Mita infused her vocals with a jazzy, soulful depth that brought a fresh energy to the score. Her work in “Make a Move” further demonstrated her ability to blend character acting with strong vocal delivery.
The three stages of Fiona were handled with great care. Tori, as Young Fiona, opened “I Know It’s Today” with wonderful optimism and beautiful vocals. Prae, as Teen Fiona, brought a “Disney Princess” quality to her voice, but also successfully channelling the “strop” of a teenager waiting for her fate. Ashley’s adult Princess Fiona provided a mature contrast, with a vocal quality that transitioned beautifully from classic musical theatre to a more contemporary, spirited belt. Ashley demonstrated a sharp understanding of comedic timing, particularly in her “faux-swooning” scenes on first meeting Shrek. During her high-energy performance in “Morning Person” she effortlessly commanded the large stage. Casting Fha-Lha as the “Ogre” form of Fiona allowed for seamless and clever quick-change transformations. Fha-Lha’s performance in the “Finale” was sweetly executed, and her earlier onstage chemistry with Donkey was a delight to witness, adding a layer of warmth to the character’s hidden nature.
Tobias offered an interesting interpretation of Lord Farquaad. Rather than leaning purely into the character’s usual absurdity, he portrayed a more menacing villain, which made for a formidable antagonist. His vocal delivery was grounded in strength, and the creative use of a tiny rocking horse mounted on wheels as his steed was a clever and humorous touch.
Alexia’s Dragon was a visual triumph, depicted through a traditional Chinese dragon operated by a skilled team of pupils, while Alexia herself complemented the puppet’s scale with an edgy, commanding presence in scaled face paint. Her rendition of “Forever” was delivered with power and confidence, capturing the audience’s attention as she “entangled” Donkey in her lair.
The enormous ensemble filled the stage for numbers like “Story of My Life”, “Freak Flag” and “Finale”, creating a visually impressive wall of sound and colour. Get’s cameo as “Gingy” was a highlight; his line delivery and comedic timing were impeccable, supported by guards wielding spatulas and whisks at Lord Farquaad’s command to reveal the “weapons of torture”. Maanyaa’s “puppet” physicality as Pinocchio was consistently maintained, particularly in “Story of My Life”. Tushir, as Baby Bear, delivered opening lines to “Freak Flag” that were absolutely stunning in their clarity and tone.
It is no surprise that Bangkok Prep School performed to sold-out houses. This was a truly pupil-driven production, with impressive involvement in stage management, make-up and technical elements. The collaboration between the dedicated creative team and the huge ensemble resulted in a show full of heart, spectacle, and a genuine sense of unity. With some standout individual performances and inclusive ensemble involvement, this was a really spectacular show.