As NSTA representatives, we were delighted to attend the Ysgol Penglais School production of Shrek the Musical on Saturday 28th February 2026. Directed with skill by Barrie Stott and pupil Nel, with Musical Direction by Rachel Rhys and Choreography by Nicky Goode and pupils Alisha and Erin, this production featured creative staging, dynamic choreography, and star performers. Particularly impressive was the fact that the school is so “swamped” with talent that many of the leading roles were double-cast across the run. We were fortunate enough to watch both the matinee and evening shows to see both of these talented casts perform.
Shrek the Musical is a stage adaptation of the 2001 DreamWorks film, with a book and lyrics by David Lindsay-Abaire and music by Jeanine Tesori. It follows the adventures of an ogre whose peaceful swamp life is disrupted when a group of fairy-tale creatures are exiled there by the tyrannical Lord Farquaad. Joined by the talkative Donkey and the spirited Princess Fiona, Shrek embarks on a journey filled with self-discovery, friendship, humour, and love.
Presented on a proscenium stage, with treads leading down to further performance space between the live band and choir, the staging was creatively directed to utilise dynamic levels. Scenery flats depicting the depths of the forest or the brickwork of Fiona’s tower helped to conjure each scene vividly; these were enhanced by clever set pieces such as the Gingerbread Man’s baking pan, Lord Farquaad’s “horse”, and the tower Fiona is imprisoned within.
Tobenna, in the role of Shrek, was fantastic, complete with a very impressive Scottish accent. His transition from a grumpy, dismissive ogre into a romantic lead was delivered with skill. His comedic delivery – a vital component of this role – was sharp, and his vocals were rich and expressive. This was an engaging performance that truly came into its own during the Act One Finale. His partnership with both Favour and Leo was a genuine highlight of the production, defined by fantastic comedic timing and interaction, as well as strong vocals in “When Words Fail” and rich harmonising in “Travel Song”.
Favour’s Donkey navigated the stage with a restless, endearing physicality that captured the character’s talkative nature perfectly. Favour’s vocal performance was characterized by an ability to play off Tobenna’s Shrek and provide a wonderful “odd-couple” dynamic that kept the audience laughing. Similarly, Leo’s Donkey elicited many laughs through his mischievous charm. Leo delivered excellent vocals throughout, with “Don’t Let Me Go” serving as a sweet and melodic highlight. “Make Your Move” was performed with style and flair, but he truly shone in “Travel Song”, where his rich, resonant tone in the lower register was truly beautiful.
Princess Fiona is a challenging role for a young actress, demanding a significant amount of vocal acrobatics, but this was handled adroitly by both Eowyn and Danielle. Eowyn showed a strong understanding of the comedic delivery required in her scenes with Shrek; her performance of “This is How A Dream Comes True” was a masterclass in combining vocal power with character acting – a real show-stopper. Danielle’s Princess Fiona was no less impressive, boasting a powerful belt range and a crystalline soprano to boot. Danielle’s comedic timing was precise, and she truly came into her own in Act Two as the character’s confidence grew.
The harmonies with the younger Fionas in “I Know It’s Today” were particularly impressive. Lexie’s Young Fiona was portrayed with both sweetness and passion, providing a lovely vocal foundation. Elizabeth’s Teen Fiona followed with a flawless performance, building the momentum of the number before Eowyn and Danielle completed the trio in their respective performances with tonally superb vocals. Their harmonies were seamless, and Eowyn’s delivery of the lyric “day number eight thousand, four hundred and twenty-three” was genuinely spine-tingling.
Tobenna, Danielle, Eowyn, Favour, and Leo anchored the production with remarkable charisma. Beyond their impressive vocal ranges, they shared a natural chemistry; their dialogue was sharp and well-paced, capturing both comedic beats and poignant moments with equal finesse. Tobenna’s performance of “Who I’d Be” with Princess Fiona and Donkey was emotionally resonant and beautifully enhanced by the atmospheric lighting design by Stephen and Rhys. “I Think I Got You Beat” provided another superb example of the principals vocalising with skill and competitive spirit.
Owen’s Lord Farquaad was a comedic tour de force. Costumed to create the illusion of the character’s small stature – with Owen navigating the stage on his knees – his physicality was impeccable. Particularly impressive was his ability to execute complex choreography alongside the chorus without ever breaking the illusion. The “Regiment (Reprise)” was such a masterful display of characterisation that it elicited a rousing mid-show ovation. Similarly, the “Ballad of Farquaad” showcased Owen’s ability to enrapture the audience with his dynamic delivery and wit. By fully embracing the delightful absurdity of the role, Owen’s commitment paid off in spades.
There were also some exceptional performances from the supporting cast. Mared and Ellie’s Dragon – supported by a body puppet expertly operated by a team of pupils- was powerful, commanding, and visually spectacular. Mared delivered a rendition of “Forever” with powerhouse vocals; she is clearly a talent to watch. Ellie’s performance of the Dragon’s featured song was equally captivating, bringing a soulful depth and soaring energy to the role. This was a real crowd-pleasing solo in both performances.
Marz and Jack both shone as Pinocchio, using a wonderfully squeaky character voice to open “Story of My Life”. Molly’s Gingy was a delight in the interrogation scene and provided a cheer-inducing solo in “Freak Flag”, as well as a perfectly timed closing line. Phoebe was another standout as the Sugar Plum Fairy, providing both powerful vocals and sharp execution of the choreography.
The large ensemble filled the stage, but the directors cleverly utilised an offstage choir to bolster the vocal arrangements without overcrowding the performance space. The choreography, led by Mrs Nicky Goode, Alisha, and Erin, was thoughtfully composed. Using contrary motion and canons to manage the large group, they reflected the story’s energy effectively – from the disciplined “Regiment” to the flowing, natural atmosphere of the woods in “Big Bright Beautiful World”. The tap sequence in “Morning Person” was a technical highlight, showcasing the company’s versatility.
Staging, lighting, and sound were all creatively designed. A particular highlight was the first meeting between Shrek and Donkey, where bellowing sound effects and slow-motion acting, set within a haze of dry ice, effectively conjured the atmosphere of the swamp. Fiona’s transformation was also handled with comedic flair, using clever staging and banners to facilitate the quick-change.
This production of Shrek the Musical was vibrant, fun, and packed with talent – fully deserving of the standing ovation it received. The collaboration between cast and crew created a magical experience full of humour, heart and spectacle. The encore of “I’m a Believer” perfectly summed up the mood: joyful, celebratory, and utterly whimsical.