Shrek: The Musical - Sheffield University Theatre Company & Sheffield University Performing Arts Society - Review by Charlie Lloyd

"Everyone has the same 24 hours in a day" - Some ‘celebrity’ 

SUTCo & SUPAS join forces to revive the first 24-Hour Musical since their rendition of High School Musical in 2022. I can imagine, instilling both absolute dread and excitement in those brave enough to endure. The premise is essentially what it says on the tin. A musical in a day (for the most part). Announced in October 2025 and by January the production team is formed, they design, crew and cast a show, ready to begin the frantic and fast-paced rehearsal process. Running on what I imagine to be very little sleep; the production ushered in an impressively large audience and we all took our seats. 

The winning decision of the show was choosing Shrek, everyone loves Shrek. It’s a light-hearted, satirical, fairytale romp centering on our favourite Ogre on his quest to reclaim his swamp. Unless you were born in 2009 or onwards, you’ll know the rest of the plot. 

Under the guidance of Co-MDs Fraser Brown and Coby Brown on the board, the band exploded into the opening number and their skill and sharpness remained unwavered throughout the whole show. It’s worth noting, on the odd occasion where a cue or line was missed, graciously, the musical components never failed to pick up those on stage, this, like many other examples I am keen to mention, is testament to the team effort the whole production displayed. No ego here, no one left behind. 

The Ogre himself, played by Alfie Cowgill clearly had a blast portraying the lightly sardonic but ultimately warm ‘hideous beast’ that is Shrek. Exuding confidence, he smashed the Scottish accent, the mannerisms and most impressively, the ability to riff with the audience, making light of the imperfect atmosphere the show triumphed. 

As Shrek’s noble steed, Alicia Adeleye excels. Never missing a beat, she captures Donkey’s loud and uplifting personality to his quieter, sensitive moments. The pair nail the odd couple trope and their chemistry is top tier. A credit to the cast, Adeleye knows temperance, having the confidence to let a pause play out and always bouncing off of her scene partners. 

A good story needs a good baddie. Evan Donninger as Lord Farquaad commanded the stage in every scene he appeared. Along with his minions, they emanated the campy and pompous attitude necessary for the opposing force of a self aware fairytale. Donninger really played ‘up’ the part, mastered the talk with the ad-libs, the (walk? Bet those knees hurt). 

Other notable vocal performers included the ensemble, particularly the Duloc Greeters, paired with Stan Smith and Zara Walton’s choreography was vibrant and did the original puppet show from the film proud. Abby Lever as The Dragon, along with her ‘troupe’ or ‘wings’ brought the house down with her incredible vocals and for sure looked the part; with props to Sammi Yuen, Charley Sands and Carly McCollin (Costume Designer and assistants respectively). It would be criminal not to mention Eve Catanach as Princess Fiona; fiesty, graceful and with a killer vocal performance to boot. 

Overall, the cast and crew should be incredibly proud of what they have produced in such a short amount of time. The show was pure unbridled fun for both the audience and the performers. Thanks to Emilia Lodge (Director) as well as the ADs, the producers; Emily Hackett and Sophie Layton and their unwavering effort and commitment. I would whole-heartedly add my vote to the 24-hour musical rejoining the running in the future. I hope everyone involved has not done too much damage to their sleep schedules!