The St.

Louis MUNY 2013 SHREK 040713 Scenic Breakdown

Producer: Mike Issacson

Production Direction: John Tartagila

Choreography: VINCE PESCE

Musical Director: RICK BERTONE

Set Design: Steve and Sam Gilliam

Costume Design: Andrea Lauer

Lighting Design: Nathan Scheurer

Video Content Design: Seth Jackson

Sound Design: Jason Krueger

Production Stage Manager: Michael Clarkson

Production Manager: Tracy Utzmeyer

“Overture”
BOOM 2 … Fairy Tale Library of Books. SR side becomes “Shrek’s Storybook” and S
L becomes Fiona’s Storybook.” There will be additional boom doors as needed.
SOME SORT OF TOWER SILOUETTE BEHIND YOUNG FIONA AS SHE GOES OF
F.....

BOOM 1 … FOREST/SWAMP/JOURNEY BOOM Multiple Journey Location Drop …

Neutral “On the Road” Drop
1.3 Signposts Unit with Swamp and Duloc and other destinations. Stores IN-One SL or
SR. Must be narrow enough (3’-0”) to strike through the wings.

1.5B … Journey? Quick Change … need to discuss.

1.7 Sunflower Units … SR and SL In One 3 x 10 wagons. Each serves as puppet stage.
4 total IA will bring onstage and stand behind hinged masking. 6 FEET HIGH. ROLLED ON
SUNFLOWER FIELD CUTOUT INSTEAD OF THE GRASS THAT COULD ACT AS BOTH A
PUPPET STAGE AND A BACKGROUND BEHIND SHREK AND DONKEY BUT IN FRONT OF
BOOM 1. THIS WOULD ALLOW FOR BOTH HIDING PUPPETEERS BEHIND IT, BUT TO ALSO
PROVIDE SOME MOVEMENT. IDEALLY IT WOULD BE GREAT TO HAVE IT BE ABLE TO
TRAVEL STAG LEFT TO RIGHT. JUST ANOTHER OPTION....IF THIS IS IMPOSSIBLE, THEN I’M
THINKING OF DOING ALL OF THE PUPPETS BUNRAKU AND EXPOSED IN FRONT OF THE
AUDIENCE ALA AVE Q. SO, PUSS’S PUPPETEERS, THE BIRDS, ETC WOULD BE
SEEN.....REGARDLESS, I KNOW THAT WHATEVER WE DO HERE HAS TO LIVE IN FRONT OF
BOOM 2 SO WE HAVE PLENTY OF TIME TO SET THE BEHEMOTH DRAGON!
Butterflies, birds puppets
Sun, Moon, Cow Jump, Dish and Spoon, Lion King Spinning Antelope
WHO IS designing and building the puppets? DISCUSS NEEDS

1.9C … Forest Journey to Cliff. Covers scene change from Dragon / Tower to Cliff.
2.1 B Boom closes to clear Cliff and set up Torture Chamber. “I Got You Beat”

ACT ONE, Scene One: FAIRY TALE STORY BOOKS

SR Shrek’s Book
Family Scene with Mama, Papa and Little Shrek
Shrek on Journey
Fiona opens book in his face
SL Fiona’s Book
Little Fiona AND QUEEN LILLIAN AND KING HAROLD enters
Shrek slams book cover to
Transition back to Shrek’s Book
Mob of Villagers carrying torches AND SEVERAL PICNIC BASKETS, KINDLING A
ND A LARGE JUMP ROPE build kindling around Little Shrek.
Shrek steps in AND ROARS, Villagers panic and run back through Shrek Book

BOOM 2 OPENS on SWAMP

TO REVEAL SHREK’S HOUSE AND AS HE USES THE KINDLING TO BUILD HIS
HOUSE Shrek will pick up a couple pieces of kindling. “Taking a bad situation and
turning it around;” kindling used to “PATCH A HOLE” his house

VIDEO WALL IS STILL HIDDEN HERE. LIGHTING ENHANCEMENTS WOULD

BE GREAT, BUT I KNOW IT’S EARLY IN THE NIGHT. TBD.

HAD A FUN IDEA TO HAVE AN OVERSIZED WORM/SLUG PUPPET

CRAWLING UP SIDE OF STG L WING, SHREK PICKS IT UP AND “EATS” IT.....
Signage to mark his home may say HOME STINKY HOME in act one LET’S FOR
SURE USE THE SIGN AND HAVE IT BE THE LAST THING HE PLACES INTO
THE GROUND END OF SONG “....BUT IT’S MINE....”and perhaps HOME SWEET
HOME at the end of the show.
LONE SUNFLOWER THAT WILTS AS SHREK FARTS AT END OF SONG

“Big Bright Beautiful World”

HERE WE SEE VIDEO WALL WITH BACKGROUND OF SWAMP THAT SEEMS

TO CONTINUE ON AND ON.

Scene Two: THE SWAMP

Guards with FTC
“Story of My Life”
As Guards process the FTC, each storybook character might have his/her mug shot and
number flash up on LED screen.
Humpty Dumpty on Moveable wall
In the swamp, the characters “set up A REFUGEE CAMP” with large props that identify
them and make an impact visually; the bigger the gesture the better, big shapes and color.
Probably a lot of cloths lines … a shanty town. PUT A LOT OF IDEAS FOR THIS ON
THE PROPS LIST....
AS FAIRY TALE CREATURES MUGSHOT PICTURES ARE TAKEN, CAN WE
HAVE A STAGE WIDE CAMERA FLASH AND THEN SEE THEIR MUGSHOT
APPEAR ON THE VIDEO SCREEN? THEY EACH HOLD THEIR STORY BOOKS
WITH THEIR BOOKING NUMBERS ALONG THE BOTTOM. OTHER THAN
THAT, SWAMP BACKGROUND IS STILL UP.

“The Goodbye Song”

Scene Three: BOOM 1 FOREST JOURNEY

Signposts Unit with Swamp and Duloc and other destinations.
Stores IN-One SL or SR. Must be narrow enough to strike through the wings.
Discuss DONKEY’S Entrance. He must hit the signpost, which spins and distorts the dir
ectional arms.

WOULD BE NICE TO HAVE FOREST TEXTURE PATTERNS/GOBOS THROUGH

OUT. VIDEO WALL UNSEEN HERE.

BOOM 1 Opens to reveal Duloc Chamber.

Scene Four: FARQUAAD’S TORTURE CHAMBER/ GATES UNIT guards

transition us into this; big effect: gingerbread man on tray (puppet with actor behind);
tray at an angle with puppeteer behind; Gingy is SL
Farquaad’s Grand CL entrance through doors MOST LIKELY RIDING ON ROLLING
CART..........WOULD HAVE TO CONTAIN ACTORS WAIST AND LEGS AND BE O
N MULTI-SWIVEL WHEELS
TALK DIMENSIONS OF TRAY FOR GINGY....SHOULD BE SEVERAL FEET ACR
OSS AND HIGH.
Oversized Torture Devices … giant spatula, eggbeater, carton of milk, etc. WOULD BE
NICE TO HAVE STORAGE FOR THESE PROPS BEHIND GINGY’S TRAY TO BE
QUICKLY REMOVED AND REVEALED

DARK AND SPOOKY AND GINGY SEEMS TO BE UNDER INTENSE QUESTIONI

NG. IF VIDEO SCREEN IS SEEN, PERHAPS AN ENDLESS HALLWAY…
Duloc Chamber revolves around to reveal Farquaad’s Castle Gates on the back side.

Scene Five: GATES TO DULOC

Greeter with Oversized Farquaad Paper Mache Head. Who is building this? WHOEVER
WANTS TO!!!! I THINK IT CAN BE ANY DEPARTMENT REALLY>>>IT DOESN’
T HAVE TO, NOR SHOULD, LOOK GOOD.
“Welcome to DULOC”…dolls pop up, puppet show; need places for the puppeteers to
stand behind. Disney’s “It’s a Small World” feeling. WOULD BE FUN TO HAVE
SOMEWHERE ON THIS PUPPET AREA A SIGN SAYING”PUSH HERE” AND
WHEN SHREK OR DONKEY DOES, THIS IS WHAT LAUNCHES THE PUPPETS
INTO SINGING “WELCOME TO DULOC”

“Welcome to Duloc
“What’s Up, Duloc?”

BRIGHT AND SHINY AND GLITZY...LOTS OF HITS AND ACCENTS HERE. ON T

HE VIDEO SCREEN, DISNEY-ESQUE (OR MAYBE PIXAR-ESQUE) BLUE SKY A
ND CLOUDS....WOULD BE GREAT TO HAVE SOME CHASE LIGHTING ON THE
MAIN GATES UNIT FOR THE FINALE...IS THIS POSSIBLE?

Another grand entrance for Farquaad

Actor will probably STAND using the scenery to conceal the actor’s legs with puppet leg
s. Maybe we will use a silly cart that squeaks, surrounded by guards. OBVIOUSLY
THIS NUMBER IS NEEDING A BIG DISCUSSION BETWEEN ALL OF US AND
VINCE. I THINK THE MORE LEVELS WE HAVE TO PLAY WITH FARQUAAD
(THINK CAKE TIERS) THE BETTER AND WE MAY WANT TO CONSIDER
HAVING BLACK BE IN THE BACKGROUND TO CONCEAL HIM AND HIS
PUPPETEERED ELEMENTS...(EASIER TO EXPLAIN IN PERSON)
Unit needs an elevator Farquaad on balcony above; lots of physical gags (he’s been
fooling everyone); play with size; GuardHouses on either side of unit. Townspeople
adults will enter the castle and then MUNY kids in the same costumes come out the other
guardhouse. I’M VERY EXCITED ABOUT THIS GAG AND THINK WE CAN GET A
LOT OF MILEAGE OUT OF IT...WE SHOULD HAVE SOME SORT OF CRANK OR
SLOT MACHINE TYPE THING ON CASTLE WHEN HE CHANGES THE
TOWNSPEOPLE’S SIZE....TO BE DISCUSSED.....

BOOM 1 closes. Transition to JOURNEY (scene change)

Quick change over.
John will look at the script to figure out how we might gain time for the scene change.
I’VE BEEN LOOKING BUT I TRULY DON’T KNOW....HMMM...IN A PERFECT W
ORLD WE’D JUST MOVE THE SCENE AFTER DULOC BEFORE THE REPRISE D
OWN IN ONE IN FRONT OF ONE OF THE BOOMS, BUT NEITHER OF THEM RE
ALLY MAKE SENSE. I ALSO LOOKED AT COBBLING TOGETHER BITS FROM
THE NEXT SCENE WITH SHREK AND DONKEY BUT THEY DON’T REALLY LI
NE UP.....I THINK WE’LL HAVE TO KEEP TALKING ON THIS ONE.

VIDEO SCREEN HIDDEN.

Scene Six: TOWER

Interior of the Tower: Fiona as a child. Other side of Tower: Fiona as a teenager.
Fiona ages from seven to teen to adult. Scrim Booths with windows for exterior … both s
ides and scrim in SR mirror for Interior. John and Nathan have discussed using scrims wi
th wireless LEDs to create a dream like memory in the past with crossfades from seven to
teen and then a spin around to outside the tower as she turns adult with the teen Fiona esc
aping into a false door. Then at the end when all three appear again to sing, use scrim win
dows with teen and young Fiona appearing magically in windows on either side of Adult
Fiona- so more as memories and less right there
THIS ALL SOUNDS RIGHT. ALSO, I’D LIKE TO WORK WITH SETH AND NATH
AN TO CREATE A SENSE OF TIME PASSING IN BETWEEN VERSES WITH THE
VIDEO WALL AND THE LIGHTING. WOULD ALSO BE LOVELY TO HAVE A LA
YER OF DRY ICE FOG DURING THIS AS IF BEING UP IN THE CLOUDS....
2 IA will be inside the tower and rotate it.
AT THE END OF THE SONG, THE TOWER BOOM 1 CLOSES.

A BIG DISCUSSION HERE FOR LIGHTING IN REGARDS TO SCRIMS, ETC...WE

SHOULD TALK THIS ONE OUT. ON VIDEO SCREEN, WE SHOULD BE UP IN
THE CLOUDS AND SKY. ON TH TWO TIME PASSAGES, WOULD LOVE TO DO
A “TIME ELAPSE” SORT OF DEAL TO SHOW THE EXTREME PASSAGE OF
TIME...IMPOSSIBLY QUICK DAY INTO NIGHT TRANSITIONS.

“I Know It’s Today”

Scene Seven: BOOM 2 SUNFLOWER FIELD / Another JOURNEY

WOULD 15-20 FOOT WIDE BY 6 FEET HIGH) ROLLED ON SUNFLOWER FIELD
CUTOUT INSTEAD OF THE GRASS THAT COULD ACT AS BOTH A PUPPET
STAGE AND A BACKGROUND BEHIND SHREK AND DONKEY BUT IN FRONT
OF BOOM 1. THIS WOULD ALLOW FOR BOTH HIDING PUPPETEERS BEHIND
IT, BUT TO ALSO PROVIDE SOME MOVEMENT. IDEALLY IT WOULD BE
GREAT TO HAVE IT BE ABLE TO TRAVEL STAG LEFT TO RIGHT. JUST
ANOTHER OPTION....IF THIS IS IMPOSSIBLE, THEN I’M THINKING OF DOING
ALL OF THE PUPPETS BUNRAKU AND EXPOSED IN FRONT OF THE
AUDIENCE ALA AVE Q. SO, PUSS’S PUPPETEERS, THE BIRDS, ETC WOULD
BE SEEN.....REGARDLESS, I KNOW THAT WHATEVER WE DO HERE HAS TO
LIVE IN FRONT OF BOOM 2 SO WE HAVE PLENTY OF TIME TO SET THE
BEHEMOTH DRAGON!

VIDEO SCREEN IS HIDDEN HERE. AGAIN, MAYBE FORESTY PATTERNS AND

SUCH. THERE IS ONE MOMENT WHEN A PROP SUN RISES THEN FALLS AND
A PROP MOON RISES WITH A COW JUMPING OVER IT AND THEN FALLS SO
IT’D BE NICE TO HAVE THE LIGHTING FOLLOW SUIT. OTHER THAN THAT,
BRIGHT AND JAUNTY.

“Travel Song”
Scenic profiles … oversize grass … to conceal puppeteers. JOHN Design?
Butterflies, birds puppets
Sun, Moon, Cow Jump, Dish and Spoon, Lion King Spinning Antelope

Transition to RICKETY BRIDGE… Sunflower Units exit

REALLY WOULD BE AMAZING TO HAVE DRY ICE HERE ON THE
PASSARELLE AND SOME SORT OF REALLY INTENSE RED LIGHTING. I
ASSUME WE CAN’T BUILD LIGHTING INTO THE PASARELLE SO THIS WILL
HAVE TO BE A NATHAN DISCUSSION. AS FAR AS THE BRIDGE ITSELF,
MAYBE IT’S OLD, RICKETY LOOKING WOODEN RAILING PIECES WITH OLD
ROPE SUSPENDED BETWEEN AND WE HAVE ANDREA COSTUME 8 ACTORS
IN GARGOYLE-LIKE OUTFITS WHO HOLD THE PIECES AS IF THEY’RE PART
OF THE BRIDGE?
ONCE WE GET HERE TO BRIDGE, IS IT POSSIBLE TO PUT RED LEDS IN THE
PASSARELLE TO SHINE UP ON SHREK AND DONKEY AS THEY CROSS THE
BRIDGE? IF NOT, MAYBE FROM ABOVE? MORE DANGEROUS AND “LAVA”
LIKE WE CAN MAKE THE PASSARELLE HERE, THE BETTER.
Sign Bridge to the Dragon’s Keep

Open Boom 1 to reveal DRAGON’S KEEP

Scene Eight: Dragon’s Keep

4 Knight’s Chained to Stone Blocks. Blocks are on casters with brakes for mobility. Kni
ghts can stand on the boxes.
Dragon GENIE LIFT BOOM
HER WINGS AND ARMS WILL BE ABLE TO FOLD IN A BIT. AS FAR AS THE K
NIGHTS GO, THE LONGER THE CHAINS WE CAN GIVE THEM, THE BETTER S
O WE CAN REALLY DO SOME CHOREOGRAPHY AND GET THEM MIVING AR
OUND. THE CONCEPT WOULD BE THEY GO FROM PRISONERS INTO ALMOST
A FOUR TOPS LINE UP AT THE POINT WHEN THE SONG GETS SOULFUL.
WE GO ALL OVER THE PLACE WITH THIS ONE: DARK AND FORBODING, TO
RED AND ANGRY, TO SUDDENLY DOO-WOP/R&B SILLY...WOULD LOVE A MI
RRO BALL EFFECT HERE DURING THE BRIDGE IN THE SONG. ANOTHER ON
E WITH LOTS OF HITS AND ACCENTS. HOPING FOR SOME HAZE AND FOG A
S IT WOUD BE GREAT TO GET LOTS OF BEAMS AND SHAFTS. AS FAR AS VID
EO SCREEN, WE’LL HAVE TO SEE HOW THE FINAL DEIGN ENDS UP BUT I TH
INK DURING THE SONG, WE CAN PLAY WITH DIFFERENT VISUALS, EPSECIA
LLY DURING DONKEY’S BRIDGE.

“Forever”

At the end of the scene, the TOWER LIGHTS UP.

THIS IS WHERE WE SEE FIONA’S BED OR SOMETHING SIMILAR IN THE INTE
RIOR OF THE TOWER.....IF NOT A BED, IT CAN SIMPLY BE SOMETHING SHE
CAN LAY DOWN UPON TO AWAIT SHREK
RAISED BED.

Scene Nine A: TOWER

Window, Climbing Surface, Bed

“This is How a Dream Comes True”

WITH THE TOWER UPSTAGE of the Dragon’s Keep, Shrek can climb the rocks in fro
nt of the tower, up and over the railing and onto the tower with Fiona asleep on a raised b
ed. Later, Shrek and Fiona can climb down to the stage level … into
Scene Nine B: the KEEP
THIS NUMBER STARTS OFF CALM AND SERENE AND THEN TURNS INTO WH
AT SEEMS TO BE A VERY INTIMIDATING AND SCARY CHASE. THE DRAGON
ATTEMPTS TO INCINERATE THEM A FEW TIMES....
FOR THE VIDEO SCREEN, THERES A MOMENT IT MIGHT BE NICE TO CLEAR
THE REVOLVE AND HAVE SHREK, FIONA AND DONKEY RUN AS IF RUNNIN
G TOWARDS THE AUDIENCE...ON THE SCREEN IT’D BE AMAZING TO HAVE I
T LOOK AS IF THE BACKGROUNDS RECEDING SO THEY APPEAR TO BE RUN
NING AWAY FROM THE KEEP/DRAGON’S AREA AND TOWARDS US INTO SA
FETY....

Scene Nine C:Transitions to FOREST BOOM 1 to set up the CLIFFS. JOHN, we

need time to change scenery. P. 52???

BACK INTO FOREST HERE. ON THE VIDEO SCREEN, IT SHOULD BE VERY CL

OSE TO SUNSET.
ONCE FIONA GOES OFFSTAGE AND IT IS SUNSET, THERE SHOULD BE A MA
GICAL GREEN, BRIGHT, ALMOST AURORA BOUREALIS EFFECT THROUGHO
UT THE STAGE AND ON THE SCREEN, SIGNIFYING FIONA’S OGRE CHANGE.
IT THEN TRANSITIONS SLOWLY TO EARLY EVENING....

Scene Ten: CLIFF’S EDGE P. 55???

Cliff are three climbable STOCK rocks that can be revolved around to reveal
Fiona’s Cave entrance (not inside). Dressers and Make-up will be hidden ins
ide.
IF WE HAVE THE LED LIGHTS IN THE TREES (XMAS TWINKLE LIGHTS)
THAT WILL BE BEAUTIFUL. I’M THINKING OF TALKING TO NATHAN ABOUT
WHETHER WE COULD DO A STAR GOBO TOO. ON THW WALL, WE’LL FIRST
SEE A LATE SUNSET AS TE SONG STARTS AND THE CAVE IS FAING
UPSTAGE. SLOWLY IT BECOMES DARKER INTO NIGHT. THEN, AS THE CLIFF
REVOLVES, HOPEFULLY THE VIDEO SCREEN WILL APPEAR TO SLOWLY
CHANGE PERSPECTIVES TOO AND THE MOON WILL REVOLVE INTO VIEW
ON IT, GIVING THE IMPRESSION WE’RE LOOKING ACROSS AT THE MOON
AS SHREK WAS AT THE TOP...I HOPE THIS WORKS!

THE SONG STARTS OFF RIGHT AS NIGHTFALL IS HAPPENING....ON THE

VIDEO SCREEN WE SHOULD SEE SOME SORT OF GENERIC FOREST OR SUCH
BEHIND SHREK AND DONKEY ON THE CLIFF. AT ONE MOMENT IN THE
SONG, THE CLIFF REVOLVES- HERE’S THE DREAM, THAT ON THE VIDEO
SCREEN, IT APPEARS TO SHIFT PERSPECTIVE WITH THE REVOLVE-
MEANING THE MOON AND AN INCREDIBLE STARRY SKY “REVOLVE” INTO
VIEW ON THE SCREEN, GIVING THE EFFECT, WE’VE CHANGED
PERSPECTIVES WITH SHREK AND DONKEY.
ALSO, IT’D BE NICE TO HAVE STARS THROUGHOUT THE MUNY TREES
THAT CAN TWINKLE ON AT SOME POINT HERE AS WELL, FILLING OUT THE
STAGE. (ISAACSON SAID THIS CAN BE DONE....DON’T SHOOT THE
MESSENGER!) WOULD THIS BE REAL TWINKLE LIGHTS STRUNG IN OR
PATTERNS OF STARS THROUGHOUT THE STAGE?
ALSO, FIONA’S CAVE IS REVEALED. THE TRICKY PART HERE IS THAT WE
CAN’T SEE TOO MUCH OF HER AS HER BEING AN OGRE ISN’T YET
TOTALLY REVEALED, AND FROM A PRACTICAL POINT OF VIEW, THE
ACTRESS WILL HAVE VERY LITTLE TIME TO GET FULLY “OGRE-IZED” SO
IT’LL BE A BIT OF A CHEAT. CAN WE LIGHT HER AS IF IT’S A LIGHT
COMING FROM WITHIN THE CAVE TO EITHER SIDE-LIGHT HER OR PART
SILHOUETTE?

INTERMISSION LIGHT/VIDEO AS PER BELOW IN BLUE....

I KNOW THERE’S A LOT IN THIS ACT AND SOME OF IT MAY BE BEST

TALKED OUT BY PHONE...

“Who I’d Be”

ACTUALLY, IF IT’S POSSIBLE, I’D LOVE TO HAVE THE SONG END WITH THE
CLIFF FARTHEST DOWNSTAGE POSSIBLE ON THE REVOLVE AND HAVE
BOOM 1 CLOSE IT TO MEET THE CLIFFS SIDE EDGES. ONCE THE ACTORS
HAVE CLEARED, LIGHTS UP, SO THE CLIFF IS IN VIEW DURING
INTERMISSION. I WOULD LOVE IT IF NATHAN AND SET COULD GIVE ME A
VIDEO UP ON THE WALL THAT TUNS US FROM NIGHT TO BREAKING DAWN
AT THE TOP OF ACT 2.
DISCUSS SIGHT LINE PROBLEMS

INTERMISSION

SEE ABOVE FOR LIGHTING/VIDEO INTERMISSION REQUEST!

Act Two, Scene One A: The BLUFF / JOURNEY

“Morning Person”
IF WE CAN ACHIEVE BOOM 1 BEING OPEN TO EDGES OF CLIFF AND VIDEO
AND LIGHTING INTO SUNRISE DURING INTERMISSION, THIS WOULD BE GR
EAT. TOP OF SONG, AFTER ENTR’ACTE, CLIFF UNIT REVOLVES UPSTAGE RE
VEALING PRINCESS FIONA WITH BASKET. ONCE CLIFF REVOLVES UPSTAG
E, HUMAN “RATS” LOAD BEHIND UP CENTER.
LIGHTING HERE SHOULD BE EARLY MORNING SUNRISE, VERY SERENE SO
WHEN WE BUILD INTO THE DANCE BREAK WE CAN GET CRAZY. ON THE VI
DEO WALL SHOULD BE THE BLUFF AND LOTS OF GREENERY, FLOWERS ET
C TO FRAME THE “PERFECT MORNING”
Exploding bird. (JOHN BUILDS) TRUCK ON DSL IN ONE.....WE’LL NEED TO HID
E THE PUPPETEER WHO WILL BE PERFORMING THE BIRD RIGHT HANDED. T
HERE SHOULD BE A SMALL COMPRESSED AIR DEVICE THAT CAN SHOOT O
UT FEATHERS WHEN THE BIRD POPS AND EXPLODES. ALSO, THE AREA UN
DER THE NEST OR THE TREE BRANCH THE BIRD IS SITTING ON SHOULD BE
LARGE ENOUGH FOR THE BIRD PUPPET TO BE HIDDEN DOWN ONCE IT EXP
LODES.
 Deer with removable antlers thrown into the pit. (JOHN BUILDS) THIS WILL BE A SI
MPLE STUFFED DEER HURLED OVER THE CLIFF UNIT AND/OR OFFSTAGE.
Rat scurries across the stage. Line of Rats. THESE WILL BE REMORE CONTROL CA
RS PERFORMED BY THE ACTORS COVERED IN RAT FUR, ETC. BUILT BY ME.
I HOPE TO HAVE BETWEEN 6 AND 8 OF THEM. THEY NEED TO DANCE WITH
AND AROUND FIONA, AND THEN DRIVE UPSTAGE AND BEHIND THE CLIFF
UNIT.
LIGHTING- HERE IT WOULD BE GREAT TO HAVE SOME SORT OF FLASHING
MAGICAL EFFECT THAT APPEARS TO COME FROM BEHIND THE CLIFF UNIT,
SO AS THE REMORE CONTROL RATS GO BEHIND, ON THE OTHER SIDE COM
ES HUMAN SIZED RATS AS IF THEY’VE BEEN MAGICALLY TRANSFORMED.
AT THE END OF THE NUMBER, THE SAME EFFECT WILL BE DONE IN REVER
SE.
THE ENTIRE NUMBER IS WITH BOTH BOOMS OPEN AND PERFORMED WITH
THE CLIFF UNIT US AND THE STAGE CLEAR.
ONCE WE GO INTO THE DANCE BREAK IN THE SONG, ALL RULES ARE OFF B
OTH IN LIGHTING AND ON THE VIDEO SCREEN. WE CAN GET AS STYLIZED
AND SILLY AND CRAZY AS WE WANT HERE. THIS NUMBER IS TRUE FLASH
AND SPARKLE SHOWBIZ.
Full Stage RAT Dance Line
END OF SONG, RATS RETREAT BACK INTO THEIR ORIGINAL SIZE AND

Act Two, Scene One B :BOOM 1 CLOSES BEHIND FIONA.

VIDEO SCREEN AND LIGHTING SHOULD RETURN TO “NORMAL”

“I Think I Got You Beat”

SAME AS PREVIOUS
SAME AS PREVIOUS

Scene Two: TORTURE CHAMBERS

Farquaad on Bench Press
Dressing Screens
THIS IS WHERE WE’LL SEE FARQUAAD PERFORMED WITH THE ACTOR ON H
IS KNEES. AS FAR AS THE BENCH PRESS/WORKOUT IDEA, IT’D BE FUN TO T
HINK OF SILLY WAYS HE COULD BE DOING THIS AND PLAY WITH THE HEI
GHT ILLUSION. DOING PULLUPS USING THE GUARDS SWORDS ETC...LET’S T
HINK OF A COUPLE OF FUN GAGS...TBD.
LIGHTING HERE IS SAME AS PREVIOUS TORTURE CHAMBER SCENE- DARK
AND COLD.
“The Ballad of Farquaad”
ONCE THE SONG STARTS, I’D LIKE TO TRANSITION INTO AS IF THIS IS FARQ
UAADS CABARET ACT. SO, THELONIUS BRINGS OVER A STOOL AND A MIC,
AND LIGHTING COULD TRANSITION INTO CLASSIC CABARET SIDE SPOT.
ONCE THE SONG PICKS UP, THE GUARDS ROLL ON A FARQUAAD HEIGHT D
RESSING SCREEN ON WHEELS THAT EVERY TIME THEY ROLL BY, HE CHAN
GES OUTFITS IN A FLASH CHANGE (ANDREA WORKS HER MAGIC!)
LIGHTING CAN GET BRIGHTER AND SILLIER AS SONG CONTINUES UNTIL T
HE END WHEN IT TURNS DARK AGAIN WITH THE MUSIC CHANGE.
BOOM 1 CLOSES AS FARQUAAD MOVES FAR DS TOWARD END OF SONG AL
LOWING FOR QUICK CHANGE INTO BARN DURING THE FOLLOWING.

Scene Three: OLD BARN / JOURNEY

BOOM 1 OPENS REVEALING BARN AND GENERAL FOREST AND “CAMELO
T” TREE WITH SECRET ENTRANCE FOR THREE BLIND MICE.
VIDEO SCREEN SHOULD BE GENERAL WOODS BUT WITH FARQUAADS CAS
TLE FAR OFF IN THE DISTANCE. LIGHTING SHOULD APPEAR MUCH LATER I
N THE DAY NOT TOO FAR FROM SUNSET.

Scene Four: Continuous

CAMPFIRE
SHREK AND FIONA SHOULD BE SITTING ON A LOG TOGETHER. PERHAPS IF
FIONA AND SHREK BRING ON HANDFULS OF WOOD THATS REALL THE CA
MPFIRE IN TWO PIECES OR MORE, THEN WE CAN ACHIEVE THE BUILDING
OF THE CAMPFIRE.

“Make a Move”
THREE BLIND MICE ARE REVEALED FROM “CAMELOT” TREE VERY DREAM
GIRLS STYLE.
THIS IS ANOTHER NUMBER WE CAN PLAY WITH WHAT’S ON THE VIDEO SC
REEN AND LIGHTING SINCE WE’RE IN DONKEY’S IMAGINATION. IS THERE
ANY CHANCE OF DOING CHASE LIGHTS EITHER AROUND THE TREE OR SO
MEWHERE ELSE ONSTAGE? IT GETS VERY TINA TURNER/PROUD MARY TO
WARDS THE END.
3 mice

Scene Five: INSIDE/ OUTSIDE OLD BARN

FULL SUNSET WITH FIONA OGRESS LIGHTING EFFECT (SAME AS END OF A
CT 1) REFLECTED ON VIDEO SCREEN AS WELL.
BARN SCRIMMED

”When Words Fail”

SAME SETTING AS ABOVE
BY SONG LIGHTING AND VIDEO SCREEN SHOULD REVEAL NIGHTTIME

Scene Six: THE RED WOODS / JOURNEY

Barn Continues … Morning Fiona Human again
SAME AS ABOVE
SAME AS ABOVE

“Morning Person” (Reprise)

SAME AS ABOVE
SUNRISE THE NEXT MORNING.
Soldiers enter with Banners. Farquaad on a Horse. John please advise on the Horse.
Fiona and Farquaad mount the horse and ride off together.
BANNERS WOULD PREFERABLY HAVE FARQUAADS FACE ON THEM.
HORSE SHOULD BE ON WHEELS AND RIDE IN FROM STG L. IT SHOULD BE LI
FESIZE, BUT CAN BE A PAINTED FLAT. WE REFERENCE THAT IT’S WOODEN
SO IT DOENS’T HAVE TO BE REALISTIC. FARQUAAD AND FIONA NEED TO B
E ABLE TO RIDE IT, HER SIDE SADDLE. WHEN HE FORST RIDES IN, IT APPEA
RS HE HAS LONG LEGS, BUT HE GETS DOWN OFF OF HORSE AND THE LONG
“NORMAL” LEGS STAY ON SO WE’LL NEED STUFFED LEGS. HORSE BACKS
OUT BACKWARDS WITH TRUCK BACKING UP SFX

SONG “BUILD A WALL” Shrek travels off “to duloc” as we transition to:

Scene Seven A: THE RED WOODS

Fairytale creatures enter like Anatevka. Around the Peter Pan Tree plus.
WE SHOULD TRY TO KEEP THE STAGE AS OPEN AS POSSIBLE FOR THE NEX
NUMBER’S CHOREO. THE PETER PAN TREE WE DISCUSSED WOULD BE GOO
D AND ANYTHING ON THE VIDEO SCREEN TO MAKE IT APPEAR WE’RE IN A
DIFFRENT AREA THAN WE’VE BEEN BEFORE.
WOULD ALSO BE GREAT TO HAVE A DIRECTIONAL SIGN WITH ONE OF THE
ARROWS POINTING TOWARDS DULOC. PERHAPS SAME ONE AS USED IN DO
NKEY’S ACT 1 ENTRANCE BUT REDRESSED?

”Freak Flag”
ANOTHER NUMBER WE CAN LIGHT STYLISTICALLY AND LOTS OF HITS AN
D ENHANCEMENTS.
Scene Seven B: FOREST BOOM
LAST 1/4 OF NUMBER BOOM 1 CLOSES AND REST OF NUMBER IS PERFORME
D IN FRONT OF BOOM 1.

Scene Eight: Forest Boom … SWAMP

Donkey is building a wall
WOULD BE NICE IF WE CAN SOMEHOW SUGGEST SHREK’S SWAMP WITH A
FEW PIECES DOWNSTAGE OF BOOM 2. PERHAPS THE STAY OUT SIGN AND T
REE? ALL OF THIS SCENE PLAYED DOWNSTAGE. BOOM 1 CLOSES AS SHR
EK AND DONKEY RUN OFF.

Scene Eight A: Princess Fiona’s Wedding Chamber "More to the Story"

DOWNSTAGE OF BOOM 2, FIONA’S DRESSING CHAMBER PIECES ROLL ON:
A FLOOR LENGTH MIRROR, A SMALL VANITY
NEW CONCEPT FOR THIS: ALL TAKES PLACE DOWNSTAGE OF BOOM 2 ALL
OWING FOR CATHEDRAL/DRAGON SET UP. I’D LIKE TO FIND A WAY TO RE
PRESENT A THIRD BOOK THAT WE “HAVEN’T NOTICED BEFORE” UNTIL N
OW AT THE END OF THE NUMBER- IN BETWEEN SHREK AND FIONA’S SEPE
RATE STORYBOOKS, THERE IS A THIRD BOOK WHICH OPENS REVEALING A
SILHOUETTE (CUTOUT) OF SHREK AND FIONA TOGETHER (KISSING?)...AN
OTHER STORY. THE LIGHTING BEHIND THE SILHOUETTE BRIGHT AND STR
ONG BUT THEN FADES AND THE BOOK CLOSES AS FIONA GOES TO FACE
HER FATE. THIS BOOK WOULD BE USED AGAIN, SEPERATELY AT THE END
DURING “THIS IS OUR STORY”. PERHAPS WHEN WE BEGIN THE NUMBER,
THE THIRD BOOK ISN’T THERE, THEN FIONA SINGS THE MIDDLE ON THE P
ASSARELLE IN SIDE SPOTS AND THE BOOK ROLLS ON HOPEFULLY MOSTLY
UNSEEN BY AUDIENCE..WHEN SHE RETURNS BACK UP BY BOOM 1, IT’S T
HERE.
END OF SONG, ALL ROLL OFF DURING APPLAUSE AS....

Scene Nine:A CATHEDRAL ...BOOM TWO OPENS REVEALING CATHEDRAL.

UPSTAGE IS AN ALTAR WHICH WILL BE USED TO CONCEAL FARQUAAD AN
D ALL EFFECTS. MIGHT MAKE SENSE FOR ROSE WINDOW TO BE ON VIDEO
SCREEN AND LIGHTING SHOULD BE VERY CATHEDRAL LIKE- WHATEVER T
HAT MEANS BUT APPEARING TO COME FROM OUTSIDE.
AN IDEA- IT SEEMS THAT BECAUSE OF LOGISTICS WE CAN’T HAVE THE DR
AGON CRASH THROUGH WINDOW UPSTAGE....MAYBE THERE IS A BREAKA
WAY WALL USR SHE CAN BREAK THROUGH? IF NOT, SHE SIMPLY TRAMPLE
S IN FROM THE SIDE.
Wedding, Choir, Bishop Rose Window

“Big Bright Beautiful World” (Reprise)

DRAGON BURSTS IN FROM STG R AND INCINERATES FARQUAAD USING PY
RO AND/OR CO2 EFFECTS WITH RED LEDS EMBEDDED IN ALTAR UPLIGHTI
NG CO2.
ACTOR PLAYING FARQUAAD SIMPLY JUMPS DOWN BEHIND ALTAR AND R
EMAINS REST OF THE SCENE. FYI- HE’LL HAVE TO “STAND” ON TOP OF THE
ALTAR JUST BEFORE HE IS KILLED.
FIONA RUNS OFF AND WE HAVE A FULL SUNSET AND FIONA MAGIC EFFEC
T AS BEFORE. GUARDS CARRY IN LANTERNS AND THE CATHEDRAL REGAI
NS INTERIOR LIGHT AS FIONA REENTERS.
FIONA EFFECT: IN TALKING WITH SETH AND NATHAN, IT WOULD BE GREA
T IF SHE CAN SOMEHOW LEVITATE UP, BUT IF THAT’S NOT POSSIBLE, THA
T’S OK. WHAT WOULD WORK JUST AS WELL, WOULD BE A FEW THINGS WO
RKING TOGETHER: TO HAVE LEDS EMBEDDED IN THE ALTAR TO LIGHT UN
DERNEATH AND AROUND THE DRESS ALONG WITH CONSTANT FLOW SMA
LL MYLAR CONFETTI MACHINES BLOWING AND WHIPPING AROUND FION
A WITH THE MYLAR GLITTER FLYING THROUGH THE AIR LIT BY THE LEDS.
ALSO, SOME FOG AND MASSIVE LIGHTING THROUGHOUT THE CATHEDRA
L. IF WE WANTED TO GO REALLY CRAZY, PERHAPS THERE’S A SMALL ROT
TING DISC IN THE ALTAR THAT ALLOWS HER TO GENTLY SPIN DURING AL
L OF THIS?

“This Is Our Story”

Scene Nine:B BOOM 2 AFTER FIONA’S VERSE, CAST MOVES DS AS BOOM 2

CLOSES IN AND WE TRANSITION BACK TO SWAMP.
BOOM 2 OPENS REVEALING THE SWAMP, BUT DECORATED FOR SHREK AN
D FIONA’S WEDDING!
With Wedding Banners in Trees
LIGHTS GO TO TOWN!
END OF SONG, THE THIRD BOOK (SHREK AND FIONA’S AS DISCUSSED IN M
ORE TO THE STORY”) ROLLS ON, COVER OPEN AND FRAMES AROUND SHRE
K AND FIONA TOGETHER AND THE REST OF THE CAST FRAMES AROUND O
UTISDE OF BOOK.
Transition back to SWAMP for Wedding and Curtain Call
“I’m a Believer”
LIGHTING FOR I’M A BELIEVER IS THE ULTIMATE WEDDING RECEPTION
PARTY-BIG AND BOLD AND AS MUCH THAT CAN POUR OUT INTO THE
AUDIENCE AS POSSIBLE AS MUNY TEENS AND KIDS WILL BE DANCING IN
THE AUDIENCE WITH THE AUDIENCE.

AT END OF I’M A BELIEVER, HUGE CONFETTI CANNON BLAST.