Little Shop of Horrors

Richmond Operatic Society have shown that trusting creatives with less or no experience to head a production can be hugely appreciated by those members but also incredibly worthwhile. Little Shop of Horrors, a less commonly done production, follows the story of a dilapidated florist struggling for business before his plant specialist discovered a very interesting and peculiar plant which helps the business regain its customers. However, the plant's thirst for blood leaves Seymore in an increasingly difficult situation day by day.

Directed by Broady Laudon, himself a first time director, found the fun, quirky and emotive balance in this production perfectly, something which is rarely done well in my opinion. The dramatic and fanciful tales of the plant to the genuinely moving and stirring interactions and story between Audrey and her own turmoil throughout the show. Both sides to this show were balanced brilliantly and transitioned really well with no unnatural jumps in tone or pacing.

Jessica McCallum choreographed this production and again it being her first experience in creative shoes. She created vibrant, energetic and beautifully symbolic routines. These routines not only added more character to the performance but added more movement to what has the trap of being quite a stationary show when not focusing on the principal roles. The choreography was inclusive and fun for all, not there just to look great but to add further character to the show.

Musical Director James Wenham has had a fantastic start to his debut in the role, finishing off the team of dedicated and talented individuals. Songs in this performance range in style, difficulty, timings, harmonies and emotional sounds. All the songs were beautifully rehearsed, worked in unison with a very talented band and moved the audience in all directions.

Lighting Designer Brian Bewsey, Assistant Director Kevin Murray and Stage Manager Beverley Owens complete the creative team with a number of other contributors to this fantastic production. Lighting worked effectively to carry the mood, setting and situation of the scene to life.

 

​No production of this classic musical is complete without its powerhouse of a classic Greek chorus. The trio of Crystal, Ronnette, and Chiffon—played brilliantly by Caitlin Smith, Freya Woodward, and Natasha Wood—kept the show moving with incredible vocal harmonies and sharp choreography. These three can sometimes be used as stage fillers while set changes are happening but these three created one of the best on stage trios I have ever seen. Interactions were meaningful and genuine. The Prologue was opened by these three who gave an incredible start to the show, starting strong and continuing from then onwards. Another stand out moment was their support in ‘Dentist!’, matching costumes, fun and sinister support for Orin the dentist was perfectly balanced.​

The production was also supported by a group of multirolling members of the company in Archie Amery, Lucy Summerside, Lucinda Kiedrowski, Amelia Woodward, Tegan Wainwright and Tom Wilkins. They all performed their different roles with conviction and character throughout the show.

​The supporting cast added immense depth and energy to the Skid Row stage. Stephen Stokoe excelled as Mr. Mushnik, earning high praise for his brilliant voice and sharp character work. Stephen gave both the humorous and fun side to his role while adding the emotive and genuine moments of grief when questioning Seymour about the blood. 

Meanwhile, Kevin Murray took on the role of the sadistic dentist, Orin, delivering a performance I would delightfully describe as "creepy, mean, and simply perfect for it." His howling laugh filled the theatre and made hairs on my neck stand with pure chills. His sang sections and feature song were performed brilliantly with fantastic tone and internations.

Bringing the iconic, bloodthirsty plant to life required a formidable team: Scott Edwards provided the bellowing and chilling otherworldly voice of Audrey II with plenty of sass and energy. Working seamlessly with puppeteers Steph Williamson and Cameron Wallace to create a truly intimidating extraterrestrial threat. Speaking with Steph and Cameron after the performance, as fantastic as the company were I could not put my guard down around Audrey II. They truly brought the 4 different life stages of this iconic character to life. I believe the best version of Audrey II you are likely to see in modern theatre. Lion King take note!

Chloe Reid as Audrey gave an emotional, genuine, and deeply heartfelt performance that resonated beautifully with the audience. Her performance from start to finish was believable, engaging and outstandingly performed. Her performance of ‘Somewhere That's Green’ will sit with me for a long time, she gave both an emotional and utterly engaging performance sprinkled with some lighter moments. The whole theatre was hanging on every word she gave.

Finally Ben Fitzpatrick who last I saw was featuring as a poor downtrodden young lad constantly trying to be noticed by his love…welcome back Ben! On a serious note, he anchored the show as lovable Seymour, delivering a performance with brilliant characterization that perfectly captured the awkward charm of the protagonist. His multiple hard hitting and dramatically sung sections were brilliantly performed with the balance of exaggerated character and genuine emotions.

 

​Overall, this incredibly talented ensemble have delivered a remarkably high-quality, memorable, and thoroughly entertaining night of theatre in Richmond.

 

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