Performance Riverside’s production of Shrek the Musical leans hard into comedy, visual storytelling, and strong character work, and that approach serves the show well. This is a big, busy musical, and rather than trying to soften or reinterpret it, the production commits to what Shrek does best: physical comedy, clearly defined characters, and design that delivers jokes before a line is even spoken.

Andrew Flory’s Shrek anchors the show with a performance that is straightforward and effective. His Shrek is blunt, socially awkward, and visibly uncomfortable around other people, which gives many of the show’s funniest moments room to breathe. Flory’s comedic strength comes from reaction and timing rather than exaggeration. A pause, a look, or a shift in posture often lands the joke more effectively than a punchline. His scenes with Donkey establish a strong rhythm early, and that dynamic carries the show forward.

Illir Burns’ Donkey brings constant motion and energy to the stage without overwhelming it. Burns plays Donkey fast, talkative, and physically expressive, but never sloppy. The humor works because it is controlled. Burns knows exactly when to overlap dialogue, when to interrupt, and when to let a moment hang. Even when he is not the focus of a scene, his reactions and movement keep the comedy active in the background, which helps maintain momentum throughout the show.

Kristen Daniels’ Fiona is confident, playful, and sharply aware of the comedy baked into the role. Fiona’s songs and scenes rely heavily on contrast, between expectation and reality, between politeness and frustration, and Daniels handles those shifts cleanly. “Morning Person” in particular becomes a strong comedic showcase, balancing exaggerated cheerfulness with escalating absurdity. Daniels keeps Fiona engaged and active, never allowing the character to become passive or purely romantic.

Ryan Perry Marks’ Lord Farquaad is one of the most effective comic performances in the production. Marks commits fully to Farquaad’s authority and entitlement, playing him as a character who never questions his own logic. That commitment is what makes the performance funny. Farquaad’s scenes are tightly paced, and Marks’ physical choices, posture, gestures, and deliberate delivery, heighten the satire without pushing it into caricature. The humor lands because the character takes himself completely seriously.

Carter Friedhof’s Pinocchio is a standout in a role that depends almost entirely on precision. Friedhof demonstrates strong control over timing and physical comedy, allowing each lie to build naturally to its payoff. The performance never feels rushed or overplayed. Instead, the humor comes from Pinocchio’s repeated attempts to maintain composure while failing in increasingly obvious ways. Friedhof’s consistency makes Pinocchio a reliable source of laughter throughout the show.

Visually, the production is supported by a set design that allows scenes to move quickly and clearly. Transitions are smooth, and the staging makes effective use of space without crowding the performers. Costuming plays a major role in establishing character immediately, especially among the fairytale creatures. The audience understands who each character is as soon as they enter, which helps visual jokes land without explanation.

The Dragon is easily one of the production’s most impressive elements. The puppetry is handled with confidence, and the design is bold, expressive, and well integrated into the staging. Rather than feeling like a novelty, the Dragon functions as a fully realized character. Movement, timing, and scale are all used effectively, particularly in scenes with Donkey, where interaction and comedic timing matter. The mechanics fade quickly, allowing the audience to focus on the character rather than the construction.

Overall, Performance Riverside’s Shrek the Musical succeeds because it trusts the material and the performers to do what the show is designed to do. The comedy is clear, the acting is strong, and the design supports the storytelling without drawing attention away from it. It is a production that understands that Shrek works best when it is confident, visually sharp, and unapologetically fun.

Shrek the Musical runs February 6, 7, 13, and 14 at 7 pm, with matinee performances on February 7, 8, 14, and 15 at 2 pm at the Landis Performing Arts Center on the Riverside City College campus. Tickets are available through the RCC Box Office.