Review: Little Shop of Horrors
If, like me, you haven’t seen the Little Shop of Horrors before then a few pointers may help. Think b-movies sci-fi, mashed up with sprinkles of references to film musicals you may have known and loved (look out for Dorothy’s theme, Gremlins-style shops full of the unusual, Sweeney Todd references, and the Blues Brothers riff), with the addition of a slight Rocky Horror 1960s vibe.
It is difficult to describe the plot of this unconventional horror/romance without a few spoilers, so skip to the end if you want to avoid any spoilers.
The show opens with the meek Seymour (Chris Drummond) and domestic violence victim Audrey (Amanda Harris) who are together ‘employed’ at the skid-row florists run by Mushnick (Kym Brown). Seymour is intrigued by plants, and has brought a new and unusual find to the store (soon named, by the love-struck Seymour, as ‘Audrey II’). One Faustian bargain later, Seymour nearly gets all the fame and fortune he desires, before discovering (too late) that all he really wanted was to be Somewhere That’s Green with Audrey.
As a community theatre with high standards, Little Shop of Horrors showcases the talents of large Savoyards production team, and of the relatively small cast. The production team is led by Taylor Davidson (Artistic Director), Hayley Marsh (the excellent Musical Director), Storm Fraser (Dance Captain), and Tracey Rowland (Executive Producer). Unfair to pick on a few highlights, but hats off to the Musical and Artistic Directors. The Musical Director and rehearsal pianists (Sue Podger and Kathy Jacobsen) had worked hard with the cast, so we enjoyed some excellent close harmonies in many of the numbers. Although a couple of songs seemed lacking in the necessary rockabilly verve and ‘bounce,’ the orchestra played well together (particular highlights were the numbers with the keyboards [Sue Podger and Ben Murray]).
The work of the artistic team is particularly important for Little Shop of Horrors. This is a show that depends on the growing presence and control of ‘Audrey II,’ and the Savoyards production is well-served by the work of the Audrey II team: props & puppet design Jess Ferguson, puppet special fx make-up Nadia Vanek, puppeteers Walter Lago, Desney Tola-Sinapati, and the excellent voice performance of Lonnie Tola. I particularly enjoyed the blackly humourous Act Two dominance of the stage and action by the plant—and this has to be the first show I have seen where the death of the heroine was greeted with laughter.
The leads were well-cast. Amanda Harris (Audrey) gave an uncomfortably believable performance of a victim of domestic violence, and the solos showcased a lovely voice (particularly in ‘Somewhere That's Green’). Chris Drummond (Seymour) portrayed a gullible and believable romantic hero who so nearly got his girl, with many of us ready to give pantomimic “it’s behind you” advice, as we could all see that this isn’t going to end well. Jackson Wecker played the role of the psychotic Orin with relish, and I particularly enjoyed Brown’s tango ‘Mushnick and Son’ duet with Drummond.
The Little Shop of Horrors uses the device of three Urchins (Rhea Basha, Storm Fraser, Manuao Madar) who are onstage for much of the production. A ‘Shangri-Las’-style song and dance trio, the Urchins provide commentary, and undertake some of the smaller roles to keep the story running along. Each of the Urchins had good solo contributions, their harmonies (particularly in the first act) were often excellent, and I loved the styling and dance moves. Perhaps a little more ‘sass’ would have helped to keep the pace upbeat, but as the Show gets into its run they can only get better and better. The Ensemble (Aaron Anderson, Damien Quick, Sarah Willoughby, and Katyla Wills) was strong, and I loved the full cast rendition of the first act ‘Skid Row (Downtown),’ and the second Act numbers ‘Suddenly Seymour’ and ‘Finale Ultimo ("Don't Feed the Plants").’
In a world that appears to be having its own sci-fi moments, Little Shop of Horrors is an excellent programming choice; a reminder that life does not always deliver the romantic dream ending, that Faustian pacts don’t end well, and to be careful of what you wish for. There were occasions where the opening night performance seemed to lose pace, and not every song was absolutely perfect. But, overall, Little Shop of Horrors is a show that provides a chance to get away from your doom-scrolling and enjoy the talents of the Savoyards team—just get in quick, as the Show closes on 13 March 2022.
Audience Information: Domestic violence and references to death (and painful dentistry). Little Shop of Horrors (only six performances, from 5-13 March, 2022), at the Star Theatre, Wynnum State High School, Peel Street, Manly. Tickets $30-52 (plus transaction fees). 2 hours 15 minutes (including 20 minute interval).
The reviewer attended the Saturday 5 March opening night performance. Curtain call photograph courtesy Creative Futures Photography
Book & lyrics by Howard Ashman, Music by Alan Menken. Based on the film by Roger Corman, Screenplay by Charles Griffith. Originally produced by the WPA Theatre (Kyle Renick, Producing Director). Originally produced at the Orpheum Theatre, New York City by the WPA Theatre, David Geffen, Cameron Mackintosh and the Shubert Organization. Licensed exclusively by Music Theatre International (Australasia). All performance materials supplied by Hal Leonard Australia.