Shrek the Musical, the same Broadway musical material but with an all-Filipino cast, finds its special swamp in Manila through Newport World Resorts’ Full House Theater Company (FHTC). And as promised, it’s indeed a treat for the entire family.

Before the gala, I feared I might doze off, not only because the 2001 movie on which it is based has grown vague in my memory, but also because my taste in theater leans toward the arthouse, experimental, and bleak. But Shrek has something for everyone — and I was wide awake the entire time.

Shrek the Musical balances slapstick and wit, so if you’re not laughing at the burping-farting contest between Shrek (Jamie Wilson) and Fiona (Krystal Kane), you’ll be cracking up at the megalomaniac Lord Farquaad with daddy issues, played brilliantly by Alfredo Reyes — on his knees — in one of this year’s most memorable theater performances and witty puns, like when Shrek and Donkey (Topper Fabregas) describe Farquaad to Fiona.

Beneath the gags and slapstick sure to tickle the funny bones of children and casual theatergoers, the musical — book and lyrics by David Lindsay-Abaire — offers rich psychological layers. Our green anti-hero ogre wrestles with abandonment issues, much like the hilariously diminutive Farquaad. 

The musical also recalls the story’s enduring charm: a countercultural anti-fairytale about love, imperfection, beauty standards, and the transactional nature of marriage. But its most touching theme is self-love, captured perfectly in the line: “Beautiful ain’t always pretty.”

Director Dexter M. Santos, associate director Michael Stuart Williams, artistic director Menchu Lauchengco-Yulo, assistant director Cara Barredo and music director Ejay Yatco clearly had fun with the material. The entire show exudes confidence and ease. They fully utilize Newport’s super-sized stage — the widest in Asia — through inventive use of both physical and digital elements. When the dragon appears, the effect is impressive.

But what makes this production truly unforgettable is the exceptional talent on stage — from leads to ensemble. Theater is not just about excellent singing; otherwise, it becomes a concert, as seen in the recent The Bodyguard. Acting is the soul of it. Effective acting lives in the voice — the pitch, the quiver, the emotional subtext within every lyric — that exposes the characters’ inner journeys: loneliness, anxiety, arrogance, pain and love. Shrek the Musical has all that.

Each actor nails their role. Wilson’s Shrek is solid, but the supporting cast steals the show. Kane’s Fiona is joyously headstrong and delightfully “delulu,” her facial reactions on the venue’s large side screen adding to the fun. 

Fabregas, hidden under his donkey costume, channels Eddie Murphy — but while it’s impressive, you don’t necessarily want a replica of Murphy on stage; a more original take on Donkey’s voice and mannerisms would have worked better. The standout is Reyes as Farquaad. Sheer perfection. Every small movement, every subtle quirk commands attention. As a narcissistic little man with tiny legs and a wounded child’s heart, he’s relentlessly funny.

A jaw-dropping surprise, though, comes from Gingy the Gingerbread Man, operated by a puppet but voiced so powerfully it elicited audible reactions from the audience. Another memorable scene was Gingy being tortured by Farquaad — darkly comic scene that triggers waves of laughter.

The songs are catchy, accompanied by a live orchestra visible on the right side of the stage. But what makes Shrek a delightful year-end treat is the overall quality of the performances. The ensemble’s perfect English speaking, strong vocals, and seamless integration of singing, acting, and dancing showcase outstanding discipline. 

The entire cast’s consistent pronunciation and enunciation make the show easy to follow — a rarity compared to TGA’s Into the Woods and 9Works’ The Bodyguard, where varying levels of English fluency sometimes created dissonance.

If there’s one flaw in Shrek, it’s the bloated runtime. But that’s inherent to the original Broadway version and beyond Newport’s control. Shrek himself is sometimes overshadowed by the more colorful supporting cast, but again, that’s true to the source material. What Newport’s artistic team can control — the direction, set and costumes — is executed superbly. 

Shrek the Musical is an exciting prelude to future Newport stagings of commercial Broadway hits, proving that with the right creative team and casting, Filipino theater can proudly stand on the world stage.

Shrek the Musical is playing at the Newport Performing Arts Theater until December 2025.