Little Shop of Horrors

Little Shop of Horrors is a cult classic musical that blends horror, comedy, and catchy Motown-inspired tunes to tell the story of Seymour Krelborn, a meek flower shop assistant who discovers a strange and bloodthirsty plant that brings him fame, fortune, and heartbreak. Set in a rundown urban neighbourhood, the show explores themes of ambition, morality, and the consequences of unchecked desire, all wrapped in a quirky, campy aesthetic.

As we took to our seats, warmly greeted by the Front of House team and officials from NK Theatre Arts, we were immediately immersed in the world of Skid Row. The pre-set was visually engaging and cleverly aligned with the artistic vision of Little Shop of Horrors. The grimy, urban aesthetic was captured through textured backdrops, scattered props, and atmospheric lighting that hinted at the decay and desperation central to the story. It was clear that attention had been paid to creating a cohesive environment that would support the narrative and tone of the production.

One of the standout design elements was the use of rostrums and multi-level entrances on either side of the stage. These allowed for dynamic character placements and entrances throughout the show, adding visual interest and variety to the staging. By incorporating these levels, the production cleverly drew the audience’s focus to different areas of the performance space, enhancing the sense of movement and energy. It also allowed for more creative blocking and helped maintain momentum during ensemble scenes.

Before delving into the specifics of the performance, I must acknowledge that, overall, I felt some of characters in this musical were under-directed. There were moments where characterisation felt unclear or inconsistent, and interactions between certain characters lacked emotional depth or believability. This is, of course, just one person’s opinion, but I believe stronger directorial choices could have elevated the performances and clarified relationships.

The opening prologue was vibrant and well-paced, setting the tone for the show with flair. The Ronettes, traditionally a trio of streetwise narrators, were expanded in this production, and the decision to do so paid off. The larger ensemble added vocal power and presence to the musical numbers they featured in. The performers playing the Ronettes demonstrated solid timing and, at times, impressive harmonies. Their energy helped drive the show forward, and they were particularly effective in ensemble scenes where their movement and vocals added texture.

Seymour, played by Callum Stretton, was a mixed bag for me. While Callum certainly commanded the stage and showed confidence in his performance, I felt his portrayal of Seymour was slightly overplayed. Seymour is typically characterised by his awkwardness, vulnerability, and moral conflict, and I wanted to see more of those traits come through. That said, Callum’s timing in breaking the fourth wall was well executed, and his interactions with Audrey were mostly believable. However, I would have liked to see more emotional nuance in their relationship, moments of tenderness, hesitation, and longing that make their connection truly resonate.

Audrey, played by Poppy Priest, had a beautiful vocal tone and delivered her songs with clarity and control. However, I struggled to connect with her portrayal of Audrey’s internal struggles. Audrey is a character marked by trauma, low self-worth, and a yearning for a better life, and I didn’t always feel those layers were present. While Poppy’s singing was lovely, I wanted to see more vulnerability and emotional texture in her acting choices to fully engage with her journey.

Mushnik, played by Kieran Hickey, gave a solid performance and brought a grounded presence to the stage. His characterisation was consistent, and he handled the comedic beats well. That said, I felt the relationship between Mushnik and Seymour lacked depth. Their dynamic, part paternal, part opportunistic, is central to the plot, and I would have liked to have seen more development and tension in their scenes together. At times, their interactions felt slightly disjointed, which may have been a result of direction rather than performance.

The Dentist, played by Brendan Williams, had some good moments of characterisation, particularly in his introductory scenes. He captured some of the manic energy and sadistic charm of Orin. One notable scene, his interaction with Seymour involving the gas mask, felt slightly laboured in its pacing. A quicker tempo could have heightened the tension and enhanced the dramatic impact of the moment. However, I found it confusing when Brendan reappeared later in the show as a different character but used the same vocal tone and physicality. This blurred the lines between characters and disrupted the narrative clarity. A more distinct shift in voice and mannerisms would have helped differentiate the roles.

Audrey II, the carnivorous plant, was voiced by John Redfern, whose performance was confident and well-paced. His vocal delivery captured the manipulative and seductive nature of the character. The puppetry, executed by Isobel McConnell, was a highlight of the production. The coordination between voice and movement was seamless, and the plant’s growth throughout the show was handled with creativity and flair. The visual impact of Audrey II was impressive and added a layer of spectacle to the performance.

Musical Director Scott Mitchell deserves praise for his work on the vocal arrangements and harmonies. The ensemble numbers were tight and well-balanced, and the musical transitions were smooth. The cast clearly benefited from strong musical direction, and the energy of the score was maintained throughout.

The overall staging and lighting were solid, with particular credit to David Jarvis for his lighting design. The use of colour, shadow, and spotlighting was creative and effectively supported the mood of each scene. Whether it was the eerie glow surrounding Audrey II or the warm tones during romantic moments, the lighting choices enhanced the storytelling and added visual depth.

In conclusion, while I felt the production suffered from some directorial shortcomings, particularly in character development and relationship dynamics, there were many entertaining and memorable moments. The design elements, musical direction, movement choreography and ensemble energy helped carry the show, and certain performances stood out despite the challenges. Thank you once again to NK Theatre Arts for your kind invitation. I look forward to seeing what you bring to the stage next.

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