Little Shop of Horrors

PADOS Theatre Company's latest production of Little Shop of Horrors offers a vibrant, character-driven staging of this cult musical favourite, complete with stellar vocal performances, shrewd directorial choices, and a clear affection for the show’s unique blend of camp and cautionary tale. With a cast full of personality and a production team firing on all cylinders, this rendition ensures the bloodthirsty plant has never looked—or sounded—so alive.

The show opens to a cleverly designed preset stage that establishes the grimy urban backdrop of Skid Row with surprising economy. The set transitions between the street and Mushnik’s flower shop are seamless, avoiding the usual clunkiness of blackouts that often plague productions of this show. The clever use of opening doors and fluid set movement keeps the pace brisk, and the audience immersed. It's a perfect fit for the PADOS stage and cleverly maximises the intimate space.

From the first beat, the musical trio of Ronnette, Chiffon, and Crystal inject energy into the show’s spine. Played by Katie Johnson, Rachel Garrett, and Francesca Groves respectively, they act as a Greek chorus of sorts—narrating, commenting, and harmonising their way through the chaos. Their voices blend beautifully, and they bring bold attitude and commanding stage presence. Rachel Garrett, in particular, shines with vocal mastery. Her emotional control and expressive delivery lifted every song she touched, offering one of the standout musical performances of the evening.

A bold directorial decision by Alexander Cohen sees Mushnik reimagined as a female character. Initially unexpected, this gender switch proves to be an inspired choice, and one that works seamlessly in this context. Andrea Berger portrays Mushnik with the commanding presence of a shop owner who’s just about held together by irritation and self-interest. Her performance brings out the humour and moral ambiguity of the character, while also offering a fresh dynamic to her relationships with Seymour and Audrey.

Kit Phillips stars as Seymour, and his portrayal is full of heart and humility. He captures the nerdy awkwardness that defines the character, while layering in genuine emotional turmoil. Phillips’ vocals are consistently strong, and he channels Seymour’s moral conflict with admirable subtlety. His chemistry with Isobel Cunliffe’s playing Audrey doesn’t always spark in early scenes, but by the time they reach the heartfelt duet “Suddenly Seymour,” the emotional payoff is deeply satisfying. Their vulnerability in this moment rings true, and their voices intertwine beautifully in a moment of hope and revelation.

Isobel Cunliffe brings nuance and depth to Audrey. Rather than playing the character as a one-note “dumb blonde,” she taps into the darker aspects of Audrey’s backstory and brings forth a quiet strength. Her performance reflects both fragility and resilience—a woman worn down by life yet still hopeful for something more. While her dialogue occasionally lacked projection, especially in softer scenes, her emotional truth always came through. “Somewhere That’s Green” was delicately delivered and genuinely moving.

As the sadistic, Elvis-esque dentist Orin Scrivello, Ciaran Lockwood embraces the character’s flamboyant cruelty with relish. His comedic timing and physical gestures are spot on, and his number “Dentist!” is both wildly entertaining and uncomfortably dark. However, while the character’s cruelty is evident, the emotional dynamics of his relationship with Audrey might have benefited from deeper exploration. That said, Lockwood’s stage presence is undeniable, and he earned plenty of both laughter and gasps.

Izzy Smith voices the star of the show, Audrey II—the carnivorous, ever-growing plant with a taste for human flesh. Though hidden from view, Smith’s impact is anything but small. Her voice is full of power, style, and menace. With a rich, soulful tone and punchy delivery, she makes Audrey II a commanding presence, dripping with attitude. Her vocal performance is essential to the show’s success, and it’s nothing short of thrilling.

The technical side of the production deserves high praise. Ian Legate’s lighting design is vibrant and responsive, shaping mood and atmosphere with precision. While some onstage lights occasionally obscured performers from certain angles, overall, the illumination was effective and evocative. Choreographer Helen Wilkinson adds another layer of flair—the movement work is sharp, expressive, and matched the tone of each number. Every gesture felt purposeful, lending emotional clarity and kinetic rhythm to the show. Under the musical direction of Tom Bowes, the ensemble delivered tight harmonies and consistently strong vocals across the board. The musical numbers had real clarity and texture, a testament to thorough preparation and sharp musical instincts.

Altogether, PADOS’s Little Shop of Horrors was a confident and entertaining take on a beloved piece of musical theatre. It captures the gleeful camp, the underlying tragedy, and the moral caution of the story without ever losing its sense of fun. With bold performances, inventive staging, and a wonderfully eerie plant at its centre, this production leaves the audience smiling—and maybe just a little bit nervous about their next visit to the florist. Thank you once again PADOS for your warm welcome hospitality.

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