Green machine

Little Shop of Horrors (QPAC in association with Woodward Productions)

QPAC, Cremorne Theatre

January 3 – February 15

Alan Menken may have composed the music for “Little Shop of Horrors”, but the 1982 musical is far from his “The Little Mermaid” type of sound or sensibility. This is seen particularly as Audrey (a phenomenal Kirby Burgess) shares Howard Ashman’s lyrics about dating a semi-sadist. The line, in her ‘I Want’ song, ‘Somewhere That’s Green’ is part of her share of a secret longing to leave her abusive boyfriend in dream of leading an ideal suburban life with meek and mild-mannered Seymour (Maxwell Simon). Audrey and Seymour work at a run-down urban Skid Row flower shop owned and operated by the easily irritated Mr Mushnik (Bryan Probets), and while the hapless Seymour has long yearned for Audrey’s love, even naming an exotic plant Audrey II in her honour, it takes time for the vulnerable and insecure Audrey to consider her co-worker as more than a sweet friend. When her affection comes, however, it is not entirely requited as Seymour’s focus has since shifted to achieving fame and fortune through the secretly mean, green man-eating plant.  

Far from being a traditional love story, the horror comedy rock musical macabrely follows what happens when Seymour raises a plant that begs to be fed human blood and flesh. Woodward Productions’ revival embraces the hallmarks of the work’s satire of ‘50s and ‘60s low-budget horror and sci-fi films in play up of the musical’s oddly specific and obscure lyrical rhymes and exaggerated characters. The era’s style is woven throughout as part of a considered, multi-faceted aesthetic, despite the lack of colour in Act One staging and costumes.

Penny Challen’s scenic design is arresting from the outset. A German Expressionist themed greyscale of exaggerated angles and raked asymmetrical backdrops both emphasises the suffocating determinism of its Skid Row setting and creates a strong visual contrast to the coming colourful world of Act Two’s escalating darkness. Importantly, in this production too, it ensures full use of the smaller Cremorne Theatre space, allowing for a truly intimate experience, even if there are some resulting sight issues during the limited floor action. Declan O’Neill’s lighting design and Ben Murary’s sound design are also almost immersive in nature, enveloping the audience into the musical’s unique, stylistically-elevated world.

Menken’s score features early ‘60s-style rock and roll, doo-wop and early Motown sounds, and a versatile, required unseen band (Annie Silva, David Whittingham, Luke Volker and Steve Fischer) captures these with precision and flair. From the sweet sentiment of Audrey and Seymour’s developing relationship to the darkly comic menace of later turns, their ability to seamlessly blend the score’s rock, doo-wop and Motown styles perfectly complements the onstage lean into its era. Vocalists are supported without being overpowered, with percussion still driving the momentum of high energy numbers.

From its musical styles, the songs that collectively stand out the most are those delivered by the  sassy ragamuffin Greek chorus of sorts, Crystal (Kimberley Hodgson), Ronette (Anna Francesca Armenia) and Chiffon (Nykita O’Keefe), who comment on the action throughout the show in the style of female trios of the time. Though clearly each is an individual performer strong vocal prowess, from their opening ‘Skid Row (Downtown)’ the trio of singers all harmonise together vibrantly to give some attitude to the dramatic storytelling. Their add of a playful tone to the twisted enthusiasm of ‘Be a Dentist’ channels a clear ‘He’s a Rebel’ feeling, and, although more urgent in its sentiment, their ‘The Meek Shall Inherit’ showcases their important narrator roles.

A relatively small cast and intimate staging space means there is little place for performers to hide. Thankfully, there are no weak links amongst the stellar cast who all appear to be gleefully relishing in their respective roles. Performances lean into the musical’s B-movie origins with intentionally over-the-top humour, often courtesy of deliberately cheesy acting. Stephen Hirst, in particular, excels in this regard, as both Audrey’s abusive boyfriend, sadistic dentist Orin Scrivello DDS and other wildly over-the-top characters. Probets initially anchors the chaos before later adding to its extremes through physical flexibility and cartoon-like expressions; his comic timing is especially showcased in a hilarious ‘Mushnik and Son’, during which a determined Mushnik attempts to take advantage of Seymour’s innocence by offering to adopt him and make him a full partner in the business.

Simon, meanwhile, captures Seymour’s awkward innocence often through sharp comic timing in delivery of his often off-kilter comments and nervous commentary, particularly around Audrey. But the standout performance comes from Burgess who brings a depth of Audrey’s emotional journey, authentically capturing both her vulnerability and hope. Her performance of ‘Suddenly, Seymour’ is a simply stunning highlight, deserving of its extended ovation for its both gentle, heartfelt delivery and ultimate spellbinding soar into its passionate climax. Her intentional phrasing and clear diction allow the lyrics to resonate in a genuinely moving way, transforming the ballad into a raw confession.

Audrey II is actually quite cute in the outset, as the only colour in Mushnik’s florist shop, while Seymour foreshadowingly feeds it a few drops of blood with warning that it can’t become a habit. From there, however, the plant grows to life thanks to the efforts of Matthew McKenzie (voice) and Charles Ball (puppeteer). McKenzie’s soulful vocals capture the carnivorous extraterrestrial plant’s both smooth and sassy sensibilities, especially as a pivotal high-energy ‘Feed Me (Git It)’ rocks us toward interval with attempt to convince a timid Seymour of the need to provide human bodies for its sustenance. Dan Venz’s choreography is dynamic throughout, especially here, as Audrey II grows to monstrous proportions and the intricacy of its execution is of credit not only to Ball, but all the performers involved in ensuring struggles with the increasingly imposing plant appear natural

“Little Shop of Horrors” has long been a beloved cult classic musical. The fact that its 6-week season was sold out long before opening night serves as a testament to the continued momentum of this musical machine. This production in particular, however, is of a musical like no other…. campy, energetic and infectiously fun. Alister Smith’s tight direction ensures a taut show and his clear attention to detail is only enhanced by the immersive experience created from entry into a Cremorne Theatre foyer filled with greenery and ‘Don’t Feed the Plants’ instructions. These serve not only as a reminder of the outlandish circumstances of the musical’s story, but the escapism encouraged beyond its Faustian themes…. but only for those fortunate enough to have already secured their seats.

Photos – c/o Joel Devereux