Little Shop of Horrors

Over the years Portsmouth Players have developed their thatched barn rehearsal space into a comfortable and well-equipped studio theatre, which is ideal for small scale musicals like Little Shop of Horrors. The show, loosely based on the 1960 film of the same name, is billed as a “horror comedy rock musical”, and this production, under Nick Williams’ inspirational direction, lived up to every one of those adjectives.

One of the idiosyncrasies of the Studio layout is that the audience enter at the back of the stage area, and I was delighted to find that not only was the rear of the set decorated to match the front but we walked in through the set and were greeted by members of the cast, in character. Nice touch. The set itself was a most impressive box set, featuring Mushnik’s flower shop with Skid Row in front, well accessorised with good quality props. Huge credit to designers Nick Williams and Caroline Maloney, and builders Caroline Moloney (also responsible for the props), Jonathan Allen, and Trever Blofeld.

Charlie Frame was faultless as Seymour Krelborn, and he does “shy and awkward” to perfection. His secret love for shop assistant Audrey was well portrayed, and we were all wishing that his love would be reciprocated. Katie Bosher gave us a perfect performance as Audrey, loyal and caring despite the relationship with her abusive boyfriend. Charlie and Katie both have beautiful singing voices and great stage presence. Robert Day portrayed a hard and uncaring Mr Mushnik, cynically exploiting Seymour when the plants he has nurtured bring unexpected success for the shop. Dario Davies-Recchia was spot on as the sadistic and narcissistic dentist Orin Scrivello. I could almost feel a cheer welling up in the audience when he was fed to the plant. His performance of “Dentist!” was a masterclass in increasing madness. The three street urchins, Crystal (Lauren Kempton), Ronette (Madison Cathrow), and Chiffon (Megan Parkes) were used like a Greek Chorus to introduce the story, move it along and comment on what’s happening. All three sang and moved well, very much in the rock style of the show. Great support was given throughout by the ensemble: Laura Bowler, Lewis Haycock, Chloe Harvey, and Billy Frame.

Of course, this show would be nothing without the all important Audrey II. Supplied by Scenetec, the plants, in increasing sizes, were of excellent quality (vital when the audience is so close) and operated, with great character, by Euan Millar. Unusually, Audrey II had two voices: Jade Cosgrave and Stuart Warner, both excellent vocally, but their alternating dialogue didn’t really gel for me.

Movement and choreography (Abby Daniels) were inventive and well executed, using every inch of the limited stage space. Paul Moroney (Lighting) ensured everything was effectively lit and the sound quality was also good, meaning we heard every word sung by a well-rehearsed cast, accompanied by MD Dan Brown’s well-chosen backing tracks. Costumes too looked good (Kate Thomas take a bow), being just right for the period and the characters. Stage Manager Adrian Godfrey ensured that the few scene changes that were required were carried out swiftly by members of the cast, appropriately costumed, and the “Closed for Renovation” transformation was handled well. The whole show flowed nicely with a good pace.

In fact, the show flowed so well that it was all over far too soon! I could easily have watched it all again. As with the rest of the audience, I enjoyed every moment and left feeling lifted and energised, humming the catchy melodies. Well done everyone involved.

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