Little Shop of Horrors

Little Shop of Horrors is a well-known musical based on the black comedic B-Movie of the same name, with music by Alan Menken and book and lyrics by Howard Ashman. It was Menken’s second major musical and has been hugely popular over the years – with good reason, being full of catchy melodies and dance numbers, and with a humorous and yet plaintive story.

Grantham Youth Theatre is a relatively new society catering for young people in the age group 16 to 26, so includes people who may be at work, in an apprenticeship, or at school, college or university. Their modus operandi is to cast, block, rehearse and produce a show in the space of a fortnight in late August, so that people away at college can return to perform. Not only that, but they build all the set and props, source the costumes, and set sound and light. This is obviously an intense schedule, and requires hard work and dedication, but is more akin to the way a small professional company might work, with long days and evenings of rehearsal prior to the production. From personal experience, I can vouch that this way of working is terrific fun and is guaranteed to forge close friendships amongst the people involved- and that was obvious in the performance I saw last night, which was slick and immensely enjoyable.

I was greeted by Lottie Morris, who is not only their chairman but also the producer and conducted the band, and, I believe, had a big hand in constructing the AudreyII’s. Obviously a talented lady and a human dynamo! She can be proud that her efforts to keep the society afloat following the pandemic have paid off in bucketfuls.

The musical production was tight, with good harmonies, and never lagged. The MD, Millie Sheppard, also played the part of Crystal with high energy. It is never easy to take a part as well as be part of the production team, so a great job.

Choreography was excellent. All the routines were polished and had great variety. Beth Oliver, the choreographer, is in training at Performers College and hopes to make a career in the industry.

Production expertise was high. The director, Georgia Barnett, is at the beginning of a professional stage career, and she brought her considerable knowledge to this show. A talent to look out for in the future, I suspect.

 The cast were used to make the simple but effective set changes. All the actors performed their roles well, but particular mention must be made of Corey Hall in his portrayal of the elderly Mr. Mushnik. He must have had backache by the end of the evening as he spent the performance bent double! The only thing I would say is – don’t force too much gruffness into your voice – firstly, you run the risk of vocal nodules, and secondly it can interfere with diction. However, having said that his commitment to the role was commendable and a very enjoyable performance.

Bethan Stanley was cast as the rather wet character, Seymour, and she gave him just the right amount of awkwardness.  I think there was a problem with her microphone, as I couldn’t always hear her especially in ensemble numbers, but a nice true singing voice came across.

Jasmine Townley as Audrey was outstanding. Her characterization and singing were excellent for the part, and I loved her mouthed “I Love You” to Seymour just as she was being ingested -not a touch I have seen before.

The three backing singers – a Greek Chorus, really – of Lara Batchelor (Ronette), Charlotte Scorror (Chiffon), and Millie Sheppard (Crystal) were also first rate with lots of energy and humour. Their choreographed routines were excellent, and vocal harmonies spot on. I didn’t hear one bum note!

Thomas Judt as Orin was convincingly sadistic, and his death scene very funny. He also doubled successfully in other minor roles.

Grace Sale, making her debut in GYTS, also doubled in a number of roles. She has good stage presence and I suspect will blossom in the future.

Audrey II is a bit of a thankless role, being basically a puppeteer behind the scenes- but essential to this show. Jack Dennis and Archie Stanley both took on this task, manipulating the killer plant well, and I believe that Jack gave Audrey II her voice! They also doubled as other minor characters.

The band were of good quality, and never overwhelmed the singers. Top marks to them!

Sound was also designed and managed by members (Nick Elliott and Alan Betton) and was effective though it was sometimes lost in the cavernous auditorium.

Lighting design was very good (Leigh Bridge and Lottie Morris), with lots of changes to reflect the mood, and was operated by Beth Oliver.

You may have gathered that I was enthusiastic about this production, and you would be right. So much to commend it – well done GYTS!

 

 

 

 

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