Review: Shrek - Ballinasloe Musical Society

Society name: Ballinasloe Musical Society

Show name: Shrek the Musical

Date of attendance: 28^th March 2026

It’s not every day that you are greeted at the theatre door by AIMS President Gerry Sweeney, looking every bit like James Bond in his white tuxedo jacket and green bow tie. Such was the vision as I arrived at the Town Hall for Ballinasloe Musical Society’s production of ‘Shrek the Musical’, my first show of another two-show day. The warm welcome set the tone for what proved to be a very enjoyable afternoon in the theatre. This was a vibrant, colourful production which was full of life. Comedy was a real highlight throughout, with plenty of genuinely funny moments. However, even with all the comic chaos, the heart of the piece was never lost. The balance between comedy and sincerity was handled with care and the show’s message of acceptance and belonging was always to the fore.

Front of house was a very pleasant experience. The welcome was warm and friendly and it was great to chat about the musical society, the theatre and its history. The foyer was full of children, many dressed up for the occasion, which brought a wonderful sense of excitement and anticipation. The Town Hall itself had undergone a transformation since my last visit. The plush new seating and the opulent front curtain in particular, made an immediate impression, adding a real sense of occasion as we took our seats. There was also a thoughtful touch in the foyer with a photo opportunity spot featuring a large image of Shrek, which proved very popular with younger audience members. 

Director Ronan Lardner did a very fine job with this production, particularly in his handling of comedy. Mr Lardner had a natural instinct for what works, demonstrating a great flair for physical comedy as well as comedic delivery. There was also very strong work with the ensemble, with each character given a sense of individuality and purpose. Small comic touches stood out, such as Donkey being chased by the guards, or his unexpected fall from above. At times, greater coordination between crew and lighting would have helped to keep the overall look of the show as professional as possible. Despite these very minor issues, there was so much to admire in the overall vision. The storybook concept was beautifully realised, and the decision to have characters exit into the book at the end was a particularly lovely and touch, tying the production together and reinforcing the fairytale feel. 

Shane Farrell took on the role of Musical Director, ably assisted by chorus mistress Éilís O’Neill. There was a stunning orchestral sound from Mr Farrell’s ten-piece band, which brought real colour and drive to this big, bright beautiful score. There was always a clear awareness of and sensitivity towards the cast on stage, ensuring that vocals were never overwhelmed. Principal singing was consistently strong but it was the ensemble work that stood out most. There was excellent attention to harmony throughout the show. The three Fionas combined beautifully in ‘I Know It’s Today’, with a gorgeous blend in the final section that really captured the heart of the piece. ‘Who I’d Be’ was a real highlight, with Shrek, Fiona and Donkey creating a wonderfully expressive sound which was full of warmth and sincerity. The three blind mice also deserve mention for their tight harmonies which were excellent. Ensemble numbers were particularly strong, with ‘Freak Flag’ standing out with its great energy and clarity. The ensemble created a powerful choral sound in the upbeat finale, bringing the show to a close with real impact. 

Aoife McClafferty did impressive work as choreographer, bringing energy and a strong sense of storytelling to the movement throughout the show. There was clear attention to detail, with choreography that suited the style of each number and kept a close focus on character and humour. ‘Forever’ was great fun and here Ms McClafferty’s unmistakable theatrical instinct was especially clear, with comedy woven naturally into the choreography. The rats were a real highlight, in the high-energy ‘Morning Person’, showing that they were very well rehearsed and full of character. ‘Make a Move’ brought a lively shift in style, delivered as an engaging Motown-inspired routine. This carried through into ‘Freak Flag’, which built from a freer, more playful opening into a more structured and highly energetic sequence. It was a standout moment, driven by pure joy. 

Cian Forde had excellent presence in the role of Shrek, the ogre with a deep wish to be accepted. Mr Forde balanced the comic strength and emotional honesty of the character very well. He was very strong vocally and dramatically and most generous in his work with others, especially Donkey and Fiona. He was a wonderful physical comedian with superb comic timing. Despite the challenge of prosthetics and make-up, he was amazingly expressive throughout, which is no small achievement. He had a great sense of storytelling which came through not only in his dialogue but also in his singing. ‘Who I’d Be’ was sung with great sensitivity and power, showing excellent vocal control and emotional depth. 

Emily Uí Cheallaigh gave an absolutely wonderful, standout performance in the role of Princess Fiona, balancing fairytale elegance with strong will and a wonderful sense of humour. This was a portrayal of real quality. Her vocal performance was outstanding throughout, with the most beautiful tone, power and sensitivity to her singing. ‘I Know It’s Today’ was particularly strong and, when joined by Young Fiona and Teen Fiona, the three of them created one of the most memorable moments of the show. Ms Uí Cheallaigh also had exceptional physicality and comic timing. Her reaction to being rescued by Shrek was hilarious and ‘Morning Person’ was a masterclass in comic performance. An exceptionally polished and memorable comedic performance from Ms Uí Cheallaigh.

Ethan McNea was Shrek’s fast-talking, endlessly optimistic sidekick Donkey, whose humour and loyalty provided much of the heart of the show. He had a natural flair for comedy, with a strong accent and excellent diction. His comic timing was exceptionally sharp throughout. Characterisation was consistent throughout and his physicality and expressive facial work were a joy. Vocally, he was very impressive. ‘Don’t Let Me Go’ was performed with great energy and playfulness, including a light touch of falsetto that added to the humour of the song. 

Patrick Byrne was an excellent Lord Farquaad, with a wonderfully inflated sense of authority and more insecurities than you could shake a stick at. Farquaad is a role that walks a fine line between comedy and menace. Mr Byrne handled that balance exceptionally well to create a villainous, but likeable, antagonist. He threw himself into the malevolent campness of the character, creating a delightfully exaggerated villain whose facial expressions were almost cartoon-like, cleverly echoing the animated roots of the piece. His ability to balance the absurd and the threatening gave his performance depth and helped the humour to work even better. A highly skilled comic performance from Mr Byrne.

Hannah Wright gave a stunning performance in the role of Dragon. She had excellent stage presence and exceptional vocal ability. Visually, she made a real impact, with a bold and imaginative costume design that really strengthened her character. From the outset, Ms Wright created a convincing sense of menace where needed, while also allowing the softer and more affectionate side of the character to emerge later in the show. Vocally, she was outstanding in ‘Forever’. Her strong belt and superb control were a joy to hear. This was one of the standout scenes of the show, performed with great power, assurance and a real sense of enjoyment. 

Ellen Keane was an excellent Pinocchio who brought great heart to the ensemble. Her comic timing was very impressive throughout. The high-pitched delivery associated with the role can sometimes affect clarity but that was not the case here. Her diction was clear and precise at all times. She too sang very well, especially in ‘Freak Flag’ where she showed an impressive range and excellent control. 

Ailbhe Lohan was another wonderful performer in the role of Gingy, the feisty and resilient gingerbread man. Ms Lohan’s sharp comic timing and strong characterisation were most impressive throughout. Her singing was excellent too, especially at the top of ‘Freak Flag’, where she delivered a confident and expressive vocal, complete with impressive riffing that moved playfully into a very funny higher register. 

Teagan Farrell was a wonderfully charming Young Fiona. As the youngest version of the character, Teagan set the tone for Fiona’s journey and the start of ‘I Know It’s Today’ was bright and expressive with a strong sense of storytelling. She sang with a superb voice and her expression showed that much thought had gone into the lyrics, with real care given to each word.  

Isabel Leech made a very strong impression in the role of Teen Fiona. As the middle stage of Fiona’s journey in ‘I Know It’s Today’, she gave a great sense of growing confidence and awareness. She sang with a fabulous voice and wonderful stage presence. Her strong musicality shone as the three voices combined, with her excellent harmonisation being very impressive indeed.

There was very strong work from the ensemble throughout. What stood out most was the sense of individuality within the ensemble. While certain scenes required uniformity, there were many moments, particularly among the fairytale characters, where distinct personalities shone through and it was clear that this had been an area of focus for Mr Lardner and his talented cast. There was a high level of expression and commitment. The ensemble was always animated and fully invested in the narrative and the style of comedy required. The fairytale characters as a group were wonderful, each bringing something individual whilst maintaining a collective energy that was quite exhilarating at times. Excellent work overall from a superbly committed ensemble.

Stage manager Geoffrey Casey and his crew did a really strong job in what was quite a demanding production. With so many set pieces, transitions and visual elements, slick stage management is absolutely essential and that was very much in evidence here. Movement of scenery was handled with confidence and efficiency, allowing the story to flow without interruption. Given the scale and variety of the set, this level of organisation was very impressive. 

The set design was excellent. There was a very good understanding of the fairytale roots of the show, reflected in the storybook framing device, and the design was both visually engaging and very practical. The swamp setting was especially well realised. The broken fencing, wooden textures, low-lying foliage, along with the atmospheric low-lying mist spilling out over the front of the stage, was very effective. Duloc was a nice contrast and the castle was highly impressive. The ‘Welcome to Fabulous Duloc’ sign was a fun piece but I did feel that the inclusion of ‘Ballinasloe’ strayed into pantomime territory. Fiona’s tower was simple but very effective theatrically. A real case of economical design achieving maximum impact. 

The lighting design contributed greatly to the overall look and atmosphere of the show, with some particularly effective use of colour throughout. There were many moments where lighting was used very creatively. The molten lava scene was especially impressive, achieved through a combination of rich red tones, smoke, and bubbling sound effects. It was a very dramatic visual, full of intensity and energy. The nighttime state for ‘Who I’d Be’ was another highlight, with a beautiful look that included a soft, atmospheric wash and a stunning moon on the cyc, adding a gorgeous sense of stillness and reflection to the moment. At times, cues were slightly delayed, which was unusual for so late in the run. Blackouts, in particular, could have benefited from some adjustment. While snap blackouts can work very well in the right context, there were moments where a softer fade might have suited the scene better. Overall, however, there were many strong and imaginative moments, creating atmosphere and complementing the narrative very well. 

The sound design was top notch throughout, with clear attention to detail and a strong understanding of the demands of the score. There was a lovely balance in every element, with an excellent mix of the band supporting the action without ever overwhelming it and a particularly strong chorus sound that carried so well. There was an outstanding vocal mix throughout the show, ensuring that principal and ensemble singing were consistently heard. Excellent work all round. 

Costumes were a real joy. In a show like ‘Shrek the Musical’, it is essential that characters are instantly recognisable and that the long-established visual style of the story is respected. That was very much achieved here. All of the fairytale characters were clearly defined. Shrek’s costume was exactly as expected, from his tartan trousers to his signature tunic and waistcoat combination. There was also great work done for the Duloc scenes, with its clear red and blue colour scheme. Dragon’s costume was a standout, bespoke creation, brilliantly conceived and constructed. The headpiece, in particular, really added to the look, tying the whole design together with the illusion of a dangerous creature while still allowing Ms Wright to be expressive. Excellent attention to detail throughout in recreating the colourful animated style of the piece.

There was great attention to detail in the props department, with a wide range of well-chosen and thoughtful pieces that supported the story and style of the production. Farquaad’s horse was a particularly impressive creation, created from scratch and used to great comic effect. A props design with plenty of creativity and attention to detail.

Hair and makeup were a real high point of this production, with exceptional work across the board in bringing these well-known characters to life. The level of detail was excellent throughout. There were some particularly strong individual touches. Pinocchio’s makeup and extending nose included clever, effective detail, while the uniform yellow wigs of Duloc were a big part of the visual comedy. Red wigs for the three Fionas were perfect and Farquaad’s iconic sleek black bob was instantly recognisable and added greatly to his overall look. Shrek himself was another standout, with excellent prosthetic work and green makeup that were both convincing and expressive. Special mention must also go to Fiona’s transformation, which was handled very effectively. 

Ballinasloe Musical Society made a wonderful choice in staging this show. It suited the group very well, allowing for strong ensemble work and vibrant characterisations. The show never lost sight of its central message. ‘Shrek the Musical’ celebrates the idea of embracing who you are rather than who the world expects you to be. That came through clearly in this production, connecting not just with the many children in the audience, but with us all. There was a real sense of joy as the story unfolded with warmth, humour, and heart. It was a thoroughly enjoyable production and a fitting celebration of a much-loved story.

Pat McElwain

Sullivan Adjudicator 2025/2026