The Little Shop of Horrors

Spotlight Theatre Seniors are a very talented group and so I was very much looking forward to seeing their fresh interpretation of Little Shop of Horrors with its classic “Skid row botanist meets shop assistant, then finds strange and interesting plant and feeds it inappropriately, and finally plant eats planet” plot of this highly original musical developed from its “50s B Movie shocker” roots.  I am very happy to say I was not disappointed.

From the first bars of Skid Row to the last bars of Don’t Feed the Plant the Spotlight Seniors team threw energy, enthusiasm and talent at the production and in the process thoroughly engaged their audience.  It was particularly impressive to see what the production team and cast created with a minimal set that made excellent use of the Arts Theatre stage.  I was particularly impressed by the creation of the human sofa in Somewhere That’s Green in Act 1 which I have never seen in any previous production and that was very effective story telling.

No production of Little Shop is made by the quality of the “Audrey II” pods, but the puppetry and voice synchronisation (or lack of it) can break this central character. As sound travels slower than light it is particularly important that the puppeteer in Pods three and four has learnt the script and moves the Pods lips before the actor playing the voice speaks/sings.  So hats off to Lucy Grieg and Louis Barnes-Cupitt for their teamwork here and especially in “Git It” which was one of the best joint executions I have seen over the years.

In addition to the Plant itself, at the heart of any production of Little Shop is the central partnership of Seymour and Audrey (one) and Hemi Lewis and Charlotte Wright brought just the right combination of vulnerability, mutual support and naivety to their respective roles.  Hemi brought alive the journey of Seymour from ineffectual nerd to urban-warrior defending Audrey from the plant and Charlotte did a great job making Audrey’s strength of character obvious as she breaks out of the victim-based relationship she has with Orin Scrovello.

Isaac Ahearne was appropriately inappropriate as Dentist Orin, bringing out the sleaze and enjoyment of inflicting pain on others (patient or not) with great enthusiasm.  Dan Duckworth was also on fine form as Flower Shop Owner Mr Mushnik and was very believable as Seymour’s “Father” as he increasingly became suspicious about why they had suddenly become so successful.

Tilly Wishart, Scarlette Coleman-Smith, Erin Hanby, Madelyn Prichard and Emily Holder were a great “Greek-Chorus” of urchins throughout the night and the choice to have five rather than the three scripted characters worked very well bringing a more-punchy vocal contribution from the team.  The remaining ensemble of characters were all very strong so congratulations to Tom, Alannah, Lucy H, Sophie, Darcy and Mia for your great contributions throughout the night.

An enjoyable production is not one that happens by osmosis, it was clear through the clarity of characterisation, diction (both spoken and sung), enthusiasm, precision and enjoyment of the cast in all the choreographed sections, that Liam, Sophie, Beth and Sam had all put in a considerable amount of work in the rehearsal room complicated no doubt with all the challenges that Covid lockdown added.

Costuming was complimentary to the 50’s New York vibe, the band were tight and provided great accompaniment.  The sound and lighting were spot on creating just the right atmosphere and complimenting the voices which together provided an extremely solid foundation for the action on stage. 

Congratulations all and see you next year.

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