SHREK AT THE MALTINGS ELY - VIVA
Exuberant donkey Aaron Lord sidekick to a thoughtful Shrek Dylan Cardwell
Their repertoire of top-class musicals with full orchestral support and professional production reads like a West End theatre company. Fiddler on the Rood, Hairspray, Sister Act, Chicago Legally Blond, My Fair Lady, are just a random, small, snatched selection. So who are Viva, a company that has stormed up to prizes at the Edinburgh Festival and performed for thousands of rapt audiences for over twelve years?
It all began when its now Director Daniel Schuman (now FRSA) worked at Soham College. He begged a couple of hours a week in a spare classroom for a drama group and out of it, most improbably, arose a theatre group now lauded with awards and laying on seven full scale productions every year.
The Fens are alive with the Sound of Music –
Well not that one but just about every other top flight production has had the Viva treatment. This week the company reached for ‘Shrek the Musical’ a stage version of the hit film about a rejected ogre and his struggle towards self acceptance, or self realization or really - a happy ending . Rejected by his parents (rather disturbingly) he totters out into the unwelcoming world aged only seven years old. In a parallel backstory, Princess Fiona ( played initially by three girls, of different ages) finds herself imprisoned in a tower by her own parents. She awaits rescue . In a straightforwardly picaresque story, Shrek is joined by his own Sancho Panza , a donkey ( a delightfully rendered role by Aaron Lord who heads my ‘will definitely see in the theatre future ‘ list). It is hard being Shrek. His face and body are distorted so actor Dylan Cardwell has little to go on. He manages the disconsolate rejected and the hopeful ( inevitably) in love with Princess persona well. The rather heavy moral of the story is that everyone has their place however strange they look and the production gave us a cast of fairy tale characters who on contemplation, were really more and more dysfunctional. At the evil epicenter is the scheming Lord Farquaad, who makes a marvelous fist of his role as the height-challenged ‘son of Grumpy and Snow White’ – not really an area to dwell on too long. Michael Heslop is heroic in this part. He keeps, up the interest and conjures a character who is a cross between Alan Rickman’s Sheriff of Nottingham and Grahame Norton, all very funny.
And that’s without even an allusion to the singing.
How on earth did any producer magic up such on note perfection from such young people. Gareth Malone is a mere minim next to the big busty voices belted out from these young people. Princess Fiona ( Zara Minns) and Eloise George (Dragon) really take the Palm d’Or here for their musical mastery, truly affecting performances that would not be out of place on the London stage.
The whole production was tremendous. The orchestra, particularly clarinet, Simon Andrews, and French Horn, Neill Greenham were outstanding. As was the direction. - keyboard conductor Richard Hayward. Take a bow and a twirl, choreographer Jess Clifford ,the Ensemble dancers gave this show the pizzazz it needs to go from amateur and interesting, to professional and sharp.
Who knew it was all out there? Where else in the country is thre such a density of talent and relentless energy? There’s even an adult version now, doing some doughty classics like Hobson’s Choice , but it’s with the kids that the glory lies. Already performers are finding their way to the bright lights of Broadway . Top marks for a transformational outfit in a rural area well known for its tough history and present complexities . The enthusiasm , the inclusivity, the sheer gutsiness of this company outshines many more fortunately endowed .
Viva is one to watch for the future.
