THE THOUGHT of Shrek the Musical, which world premieres at the 5th Avenue Theatre this month on its way to Broadway, conjures up animation-to-stage buck-seekers like The Little Mermaid. And when the animated film in question is a DreamWorks blockbuster about a lonely green ogre who finds acceptance by rescuing a princess in a fairy-tale world, the eyebrows really go up.

“So many people are justifiably dubious of the project,” says David Lindsay-Abaire, the 2007 Pulitzer-winning playwright (Rabbit Hole) in charge of the Shrek the Musical’s book and lyrics. “Of course people imagine actors stumbling around in big plastic heads.”

“In some ways,” adds director Jason Moore, “I’m kind of happy that people have that expectation, because then they sit down and are really surprised. Calling Shrek an underdog is maybe not the right way to put it, but people having lower expectations is good for us.” Moore thrives on subverting preconceptions; his pitch-perfect directorial tone helped transform a bunch of singing, potty-mouthed puppets into the randy but tenderhearted Tony winner Avenue Q.

Composer Jeanine Tesori (whose Thoroughly Modern Millie, based on the 1967 film, also took the Tony for Best Musical) dispels any doubts about this new production’s ambitions. “We’re all theater people,” she says. “And the DreamWorks producers have pushed us in the direction of seeing how much further we could go. We want things from the movie, but it’s not a transfer—it’s a reimagination.” She’s exploring a vast spectrum of “adventure sounds and princess sounds and earth sounds,” as well as appreciating the original source material: William Steig’s 1990 children’s book. “He got what kids got about what’s funny and disgusting,” she says, “And that’s been a fun thing to play with.”

Shrek worked as a film because it used Steig’s tale as a jumping-off point for several choice instances of subversive wit (the prefabricated cheer of the evil Lord Farquaad’s castle grounds recalled a certain Magic Kingdom). But a musical—as the recent Young Frankenstein adaptation revealed—has to function on more than cheek. This Shrek team needs to build a big, green heart at the center of the sarcasm adored by audiences.

“We loved the irreverence, but none of that matters if there’s not an emotional core,” Lindsay-Abaire agrees.

“This is the story about a guy who’s been told his whole life that he is one thing, but inside he feels different. He feels like he could be heroic, like he has love inside of him. And that’s the stuff musicals are made of.” Lindsay-Abaire makes his debut as a lyricist with this project and offers that he’s already written a song for the dragon called “Donkey Pot Pie” as well as one for Princess Fiona titled “I Know It’s Today.”

But don’t press Moore. “One of my favorite things about going to the theater,” he says, “is sitting down, looking at the big red curtain, and not knowing what I’m about to see. If I tried to describe it to you it wouldn’t be as good. I’ll let it speak for itself.” Hopefully, it’ll sing.