Being green is far from being easy. However, when true love is brought into play, it offers even the greenest of creatures a pair of big, fluffy wings so that it can flee troubles and live a real fairytale. Therefore, it should come as no surprise that “Shrek the Musical,” which debuted on Sunday night at the Broadway Theater, is essentially led by the power and beauty of pure feelings, thus emanating throughout its joyful scenes a warm sentiment that reveals a fascinating bit of bliss and joie de vivre.

These cheerful moments and magic images emerge when the up-to-then conflicting two main characters of the film-brought-into-musical and the book by William Steig discover that the things they have in common effortlessly surpass rivalry and dislike.

Although they’re not referring to philosophical works or Pink Floyd, the couple manages to transmit the most beautiful feelings out there. It’s hard not to enjoy their loud love even if they sometimes seem to be very crude. No one had an aversion to their coarse manners when they showed them in the outstandingly popular 2001 animated film.

Impersonated by Brian d’Arcy James and Sutton Foster respectively, Shrek the ogre and Fiona the princess smell a fragrant bond between them as they turn cold resistance into a breathtaking love story.

In spite of the fact that the show, directed by Jason Moore, with a score by Jeanine Tesori and a book and lyrics by Pulitzer Prize-winning playwright David Lindsay-Abaire, feels more like a costume party rather than a real musical, “Shrek” should entice both kids and adults thanks to its much-loved plot and characters.

As Shrek embarks on a journey to rescue Princess Fiona from a castle surrounded by lava and guarded by a fire-breathing dragon, so that she can wed the villainous Lord Farquaad (Christopher Sieber), he and his companion Donkey (Daniel Breaker) experience a dynamic trip that often becomes too packed with adventures.

Jeanine Tesori’s music is more efficient than magnificent, but there are sufficient bubbly up tempo pieces and numerous touching ballads that know the way to the audience’s heart. High spots include “Morning Person,” which makes the most of Sutton Foster’s comic skills, “I Think I Got You Beat,” a side-splitting duet between Shrek and Fiona that sees them battle in order to determine who is able to produce the most disgusting sounds, as well as “What’s Up, Duloc,” in which Christopher Sieber performs a strident dance number.

What’s not to love about all of these nutty characters that manage to deliver plenty of laughs while they reach our soft sides as well? They may have separate tasks to achieve, but they also form a homogenous ensemble that knows when to joke and when to feel.