Revu Little Shop of Horrors

“Little Shop of Horrors” Poster

It’s pouring with rain as I rush to see Cross Key Productions’ newest show, directed by Madi Bouchta – I always seem to be running late on my way to the O’Reilly. As I lay my sodden coat over the back of a seat in the front row and sit down, I’m a little unsure of what to expect. I know plenty of people who seem obsessed with Little Shop of Horrors, but it’s never really crossed my path. It's safe to say that I'm in for a few surprises.

Alan Menken and Howard Ashman's beautifully 60s-styled horror-comedy musical follows Seymour (Will Jacobs), a bumbling florist who discovers that his exotic plant named Audrey II (Wally McCabe) demands human flesh in order to grow. In a rather unconventional plot structure for a musical, things go increasingly wrong as Audrey II's thirst for blood combines with Seymour's thirst for fame, at the peril of other characters.

Musical Director Louis Benneyworth (who more than demonstrated his expertise with The Last 5 Years), assisted by Nicole Palka and Kayla Helsby, does much to elevate Bouchta's production with confident renditions of every musical number. Both Benneyworth's band and the cast are more than up to the challenge of the score's mix of genres, and catchy hits belted with impressive vocal prowess become the highlight of this production. Unfortunately, they are not infrequently held back by sound mixing issues, which render the lyrics of some songs (Act 2 opener Call Back in the Morning and Now (It's Just The Gas) particularly) inaudible. The mics fail to keep vocals clear above the band (and sometimes don't seem to work at all), and this even occasionally affects Audrey II itself, which feels like it should be a booming presence.

“Little Shop of Horrors”

These sound issues would not be such a blow if they were not obscuring such an incredible array of voices – this cast boasts serious vocal skill combined with some strong characterisations. Memorable performances come from Tristan Hood, whose amusing presentation of Mr. Mushnik (Mushnik and Son) is topped only by his immensely powerful voice; and McCabe's sassy turn as Audrey II, which provides a comic but sinister, even terrifying centrepiece for many scenes.

McCabe's vocal performance, of course, is enhanced by a progressively intimidating series of onstage puppets operated by a team of Harriet Wilson, Charlotte Ward, Grace Yu, and Jacobs himself. Designed by Kate Surgay with assistance from Tess le Vann, Averil Tallack, and Yi Lin Zhao, Audrey II's different forms are vivid and range from adorable to imposing. Although we unfortunately never reach the heights of some productions where the plant takes over the entire auditorium, Surgay's delightful growing puppets account for much of the fun and excitement I feel watching this production.

The action happening around Audrey II is not always as expertly crafted, though, and dialogue between numbers can be clunky. One particularly awkward moment deflates tension in the crucial scene immediately before Somewhere That's Green (Reprise) – unpolished choreography and dumbfounded looks from Jacobs and Eliza Hogermeer as Audrey draw laughs from the audience which feel unintended (though not unwelcome).

This is not helped by a few problems with Jacobs and Hogermeer's lead performances. Jacobs perfectly captures just how pathetic Seymour becomes, but is held back by some shuffling back-and-forth, and sometimes appears over-rehearsed at the expense of some comic potential. Hogermeer's performance would benefit from work on diction (it's often hard to make out her lines), and much greater variety in line delivery.

Both performers, however, join the rest of the cast in displaying incredible vocal talent. Key moments allow them to show off and capture the audience with chills-inducing renditions of musical theatre favourites like Suddenly Seymour.

That said, probably the standout performance of the evening comes from Cameron Maiklem as the gleefully sadistic Orin. Maiklem's moments onstage in a variety of heightened roles are brief but intense and deeply entertaining. In these scenes, he manages to provoke many of the biggest laughs of the night and turn Orin's introductory number (Dentist!) into the most exciting and wacky sequence of the show. Maiklem's energetic performance and talent for heightened characters (as in The Critic) puts the audience in the palm of his hand, and often in fits of laughter.

Stepping out of the O'Reilly (and getting as far away from Audrey II's jaws as I can), I've undeniably enjoyed my time watching this enormous, bizarre, fun production. Despite a few issues with tech and technique, Cross Keys have delivered a spirited rendition of a well-loved show, with more than a few genuinely joyous moments. On my way home, I decide to stick to the pavement and away from any flora. I'm not taking any chances...

“Little Shop of Horrors”

3.5/5 Stars

“Little Shop of Horrors”

Review by George Loynes

The link to George Loynes’s review blog is: https://roomwithreviewblog.blogspot.com/?m=1&fbclid=PAZXh0bgNhZW0CMTEAAadKaD9DWn-5mwBnPczPWh3KXF0Wm5MTE_D9WbXEiWAbpuhhg9yNdnyYWKaYSg_aem_MX4-