Revu Little Shop of Horrors

“Little Shop of Horrors” Poster

Little Shop of Horrors is a theatrical treat. From a rags-to-riches story gone wrong, to an eclectic cast of characters whose lives are turned upside-down by a mysterious plant, to a catchy rock-and-roll soundtrack, to absurdly funny murders, this show has something to chew on for every viewer. Produced off-off-Broadway in 1982, inspired by a 1960 horror movie, the musical has since become a classic. In the Intervu published on this website a few days ago, director Madi Bouchta discussed the challenges of adapting this work in the present day. The cast and crew of this play brought to the O’Reilly Theatre by Cross Key Productions were more than up to the task.

I sit in the audience with great expectations. Here’s the story: an orphan overworked by a cranky manager in a florist’s shop, in love with his trapped-in-an-abusive-relationship coworker, discovers a plant nobody has ever seen. But the plant only grows when fed his blood: what could go wrong?

I am greeted by a gorgeous set design (chapeau to Amelia Morton and Noah Rossin), an eerie mixture of plant-props and a metal architecture that sets the tone perfectly. The play opens with the opening number by the very talented Subomi Adeleye, Lauren Lisk, and Praise Adebusoye, a show-stealing presence in matching green costumes who will play chorus as this tragicomedy develops. And after an unseemly quiet start, with more restrained choreography and music, the viewer soon gets what they’re here: a descent into a campy, humorous, bloody absurdity. This production knows well the material they’re working with and is having fun playing with story, music and staging. This play has been meticulously organised and coordinated: slapstick comedy that risks becoming excessive but never does, carefully designed choreography by Miranda Forbes, and great props and costumes by Kat Surgay and Anaiya Patel, respectively.

The cast was a delight to watch and to listen to. The dreaded off-key moments that sometimes occur in student theatre were very rare. The only complaint I could find was that the singing didn’t always rise enough above the music, which proved sometimes difficult as a first-time viewer, although this happened mostly in Act One.

The cast displayed a great musical range and delivered captivating performances.

Will Jacob portrayed Seymour as awkward and lovable in the right measure, but also credible in his descent to the horrors. Eliza Hogermeer brought a delicate and sweet note to Aubrey, the character whose adaptation deserved the most care. Certain narrative flaws and questionable one-liners are embedded in the show since its first version, but this production treated Aubrey’s story with delicacy and grace, not sacrificing humour while also not trivialising domestic violence.

Tristan Hood’s Mr Mushnick was a welcome comedic presence, bringing some unexpected human notes. In the first act, the three created a comical yet sweet emotional core that was the perfect seed for the developments of the second act. Of course, character reviews would be incomplete without Cameron Maiklem’s hilariously sadistic dentist: such a presence that I found myself hoping to see a musical spinoff based on this character alone. At the risk of repeating myself, more praise to the Urchins, who carried the show from its upbeat underdog start until its chilling conclusion.

And I have not forgotten the plant! Audrey II is at the heart of the play and one of the most challenging aspects to bring on stage. Wally McCabe provided some impressive vocals, and plant-puppets operated by Harriet Wilson and Charlotte Ward were a winning choice, well-crafted and entertaining. While watching, I kept thinking of the potential interpretations of this lovely cannibalistic vegetable. In Little Shop of Horrors, horror tropes of mad-creature-wrecks-havoc meet the classic story of an underdog looking for luck and love. Is this a deliciously messy social satire on the cannibalistic nature of the American dream and the lengths people will go to feed others (and even themselves) to their ambitions? Is it a cautionary tale on the old human nightmare of being devoured by nature?

Maybe. Or maybe it’s none of this. Little Shop of Horrors works precisely because it dances away from highbrow seriousness and stubbornly brings camp on stage: something that this production captures perfectly. And the audience doesn’t need to choose between relishing in the eerie symbolisms and laughing. They get both at once.

Theatre at its best becomes electric – an experience where the show and the audience feed off (sorry) each other’s enthusiasm. Throughout the show, the audience gasped, laughed and clapped as the story unfolded. The last night of Little Shop of Horrors at the O’Reilly ended with a standing ovation.

4/5 Stars

Review written by Jude Parrotta