Shrek as presented by Newry Youth Performing Arts

Society Name: Newry Youth Performing Arts

Show Name: Shrek

Adjudicator Date of Attendance: 16/04/2025 

Brief Overview of Show and Evaluation of Front of House

Newry Youth Performing Arts’ production of Shrek was a vibrant and heartwarming rendition of this modern fairytale musical. With its colourful characters, satirical humour, and messages of self-acceptance and love, Shrek offers performers a chance to shine in a fun, demanding, and highly theatrical setting. This production clearly showcased the group’s enthusiasm and dedication, with committed performances from the leads, clever staging choices, and a solid grasp of the material’s playful tone.

The show was anchored by an ensemble who brought energy and joy to every scene, and standout performances across the board helped to keep the momentum lively throughout. The direction, music, and choreography all demonstrated a solid understanding of the balance required between parody and sincerity in this piece. While there are always areas to continue refining, particularly in moments of precision and timing, this was ultimately a confident and capable production that thoroughly entertained its audience.

The Front of House team was efficient, courteous, and warmly welcoming. Audience members were guided with clarity, and there was a clear sense of pride in the air. The pre-show logistics were handled with professionalism, and patrons were made to feel at ease. It was an environment that fostered excitement and community spirit. The entire experience, from arrival to curtain call, was handled with a level of warmth and care that greatly enhanced the evening.

Director – Direction and Production

This was a very well-executed piece of direction by Jordan Walsh-Rhodes, with strong attention paid to storytelling, blocking, and character development. The pacing of the show was well-judged, ensuring that scenes moved fluidly without ever feeling rushed or static. A particular strength of Jordan’s direction was the clarity with which each character’s journey was drawn. Both Shrek and Fiona had strong arcs that developed believably and kept the audience engaged from beginning to end.

There was a clear understanding of the show’s heart, and the comedic moments were balanced nicely with its emotional core. Set changes were integrated smoothly into the action, and the physical staging of scenes was thoughtful, ensuring that stage pictures were always clear and visually interesting. Moments of intimacy, like Shrek’s solo reflections or Fiona’s longing, were not lost amidst the spectacle, which is a credit to the directorial eye.

Overall, this was a mature and effective interpretation that brought out the best in the cast.

Musical Director – Direction and Orchestra

Musically, the production was extremely well-managed. Aislinn McGinn led a tight and responsive musical ensemble, particularly impressive given that the band was positioned in a separate room, always a logistical challenge. Despite this, the balance between vocals and instruments was consistently excellent. The sound was rich and supportive, never overpowering, and allowed the young cast to shine vocally.

Tempos were well judged and kept the narrative moving forward at a good pace. Harmonies were clear and balanced, with crisp diction and confident ensemble singing. Cueing was tight, and the musical transitions between numbers were handled with assurance. Only a couple of minor cuing slips were evident, and they did not detract from the overall high standard. Aislinn deserves real credit for developing such a strong choral sound from the cast and maintaining musical integrity throughout the performance.

Choreographer – Choreography

The choreography was lively, imaginative, and well-tailored to the cast’s abilities. Paul Burns managed to strike a smart balance between visual flair and practical delivery, ensuring that movement sequences felt purposeful and well-rehearsed. The Duloc number stood out as particularly inventive, using robotic movement to great comedic effect, though further cleaning would have elevated the “droid-like” impact even more. Precision is key for this kind of stylised number, and some additional polishing would help to land the visual humour more sharply.

The tap number was a true highlight, full of infectious energy and rhythmic accuracy. The cast handled the syncopation with confidence, and the uniformity of movement demonstrated a high standard of preparation. Throughout the production, choreography supported the story rather than distracting from it, which is always a positive sign of thoughtful creative choices. With just a little more attention to fine detail, particularly in unison sections, this choreography will continue to lift the overall standard of performance.

Leading Principles – Singing and Acting

Shrek – Jordan Walsh-Rhodes: Jordan offered a strong, grounded performance in the title role, bringing warmth, vulnerability, and gentle humour to the character. His understanding of Shrek’s emotional journey was clear, and he showed impressive control in transitioning between comedic gruffness and heartfelt sincerity. Vocally, he held the part well, with a tone suited to the character and solid projection. His chemistry with Fiona felt genuine, and his presence on stage was steady and assured throughout.

Fiona – Caoimhe McBride: Caoimhe gave a standout performance as Fiona, bringing charm, wit, and vocal strength to the role. Her ability to switch between the prim fairytale princess and the impatient woman was effortless. Her vocals were clear and secure across the full range of the score, and she handled the comedy and pathos of the role with maturity beyond her years. She was particularly impressive in dance, anchoring the tap number with skill and presence. A performer with real potential.

Donkey – Conor Sands: Conor brought an enthusiastic and energetic interpretation to Donkey. His physicality and vocal delivery captured the character’s extroverted spirit. At times, a slightly slower delivery might have allowed more space for the humour to land, as some comedic beats were rushed in pursuit of energy. However, Conor’s vocal work was strong, and his stage presence was confident. With more experience, he will continue to develop the nuance and timing that this role demands.

Lord Farquaad – Ruairi McAlinden: Ruairi’s portrayal of Farquaad was both funny and well-judged. He captured the character’s self-importance and theatrical villainy with great skill, avoiding caricature and instead crafting a nuanced comic villain. Performing much of the role on his knees presented physical challenges, and while it occasionally affected mobility, Ruari coped admirably. His vocals were strong, and he delivered his songs with clear diction and commitment to character. A very enjoyable and intelligent performance.

Supporting Roles – Singing and Acting

Pinocchio – EJ Dunne: EJ impressed with a consistent and believable high-pitched vocal delivery, a tricky ask for any performer. He maintained character while singing, which showed great discipline and focus. Although there was room for more physical commitment to the puppet-like movement, the performance was still strong and confidently delivered.

Dragon – Tess McElherron: Tess was an exceptional Dragon. Her vocal power and stage presence ensured she was a focal point even while maneuvering under and alongside a large puppet. She succeeded in drawing attention to both her and the puppet as needed, creating a cohesive performance. Her vocal tone was rich, and she displayed excellent control throughout her number.

Gingy – Chloe Copas: Chloe brought real personality to the role of Gingy. Her puppet work was thoughtful, and her voice gave the character a clear identity. Vocally, she was secure and expressive, delivering her moments with flair.

Sugar Plum Fairy – Carragh Mailley, Elf – Cara McCormick, Ugly Duckling – Hannah Mullen: All three brought colour and commitment to their roles. Their characterisations added variety and humour to the ensemble scenes, and they each made the most of their moments.

Chorus/Ensemble – Singing, Acting, and Choreography

The ensemble was energetic, expressive, and fully committed to the world of the show. Each performer brought individuality to their roles, whether as fairytale creatures, villagers, or royal subjects, which added great depth to the overall storytelling. Vocals were tight, harmonies blended well, and diction was clear. The ensemble choreography was performed with enthusiasm and good spatial awareness. With a bit more unison in movement, their contribution could be even more impactful. A strong and supportive ensemble that clearly enjoyed the experience.

Stage Management & Set Design

The set design was imaginative and beautifully executed. Flats, backdrops, and suspended pieces were used effectively to suggest a variety of locations, from the swamp to the castle to Duloc. All additional pieces were well-constructed and integrated seamlessly. The design choices supported the storytelling at every turn, making the performance visually engaging and functionally efficient.

The stage management was slick and professional. Scene changes were handled with minimal disruption, maintaining the flow of the show.

Technical – Lighting and Sound

Lighting design was creative and well-matched to the show’s fantastical world. Early moments featured well-timed effects and mood-setting washes, particularly for the swamp and dragon scenes. As the show progressed, some cues became looser, suggesting possible time constraints in tech rehearsals. Where time is short, simpler but tightly executed lighting is always preferable to overreach that risks inconsistency. Nonetheless, the ambition and imagination behind the lighting plan were commendable.

The sound design was a real strength. With the orchestra remote from the action, the responsibility fell heavily on the sound operator, who did an excellent job. The balance between band and vocals was very good, with all lyrics and harmonies clearly audible. A few missed mic cues were noted but did not disrupt the overall experience. A commendable achievement on the technical side.

Visual – Costumes, Hair and Make-Up

Costumes were a triumph. Each character’s look was carefully crafted, and well fitted, and the visual consistency added greatly to the production’s polish. There were charming, humorous, and imaginative costume touches throughout, and the attention to detail was evident.

Makeup was similarly strong; Shrek’s prosthetics were particularly well-applied and looked natural under stage lighting. Hair styling was appropriate and cohesive across the cast. These elements combined to create a strong and visually coherent world.

Adjudicators suggestions/ comments- overall comments on the production and comments to enhance the standard for future performances.

Newry Youth Performing Arts should be proud of this high-spirited and entertaining production. The standard of performance, both individually and collectively, was strong across all disciplines, and the creative team crafted a coherent and joyful interpretation of Shrek. There is room for further growth in areas of precision, especially in choreographic synchrony and comedic timing, but these are refinements to build upon, not weaknesses.

The society’s strengths lie in its strong leadership, clear creative vision, and highly engaged cast. Continued focus on detail, consistency, and tech-time management will help lift future productions even further. With such talent on and off stage, NYPA is well-positioned to keep delighting audiences for years to come.