Little Shop of Horrors

Little Shop of Horrors, currently being presented by Marie Clark Musical Theatre (MCMT), was first seen off-Broadway in 1982, as an adaption of the 1960 film of the same name. Many people first discovered it in 1986 when it was made into a film, directed by Muppets legendary puppeteer, Frank Oz.

The stage play is written by Howard Ashman and composer Alan Menken, well known for a string of Disney hits including Beauty and the Beast and Aladdin, and it is in the style of doo-wop 1960’s musicals where they may be no ‘memorable ear worm’ song to go home humming, but Ashman and Menken later wrote "Mean Green Mother from Outer Space" specifically for the 1986 film. The song, nominated for an Academy Award for Best Original Song at the 59th Academy Awards was the first Oscar-nominated song to contain profanity in the lyrics, as well as the first to be sung by a villain.

The plot is very simple if you ignore a carnivorous blood eating character who gradually gets bigger and meaner as the story progresses. Set in New York in Mushnik's flower shop, unassuming floral assistant Seymour Krelborn, played by regular Adelaide leading man, Kristian Latella, stumbles across a new breed of plant he names “Audrey 2”  after his co-worker, Audrey, played by Rose Harvey, with whom he is secretly in love. This evil singing carnivore materialises as Audrey 2, played by Kate Elle Jackson, who literally relishes and devours the role, and promises unending fame and fortune to the down and out Krelborn as long as he keeps feeding it a preferred diet of fresh humans. Ultimately Audrey 2 becomes more powerful, discovers her out of this world origins and intent towards global domination. Simple really.

There are other notable characters and in the 1960’s style, a three-girl "Greek chorus", Crystal, Ronette and Chiffon introduce the story. Played by Madi Grey, Carolina Fioravanti and Kim Anastasio, they are bundles of vitality and passion and who, like the rest of the ensemble, perform many roles. Mr Mushnik, played by Nic Equid, is vocally strong and although the role offers little scope for his musical talent, the Mushnik and Seymour tango is a treat with terrific comedy timing and movement. B J Peake plays Orin Scrivello, the most sadistic dentist of everyone’s worst nightmares, and ‘milks’ it for every laugh whilst being very much the villain in the life of abused girlfriend, Audrey. I was pleased to see this issue handled carefully and sensitively.

There is a theatrical and an original ending, and, of course, you need to see the show to find out what happens. Note: The terrific finale costumes, and bop along final number are a great finish to the show.

Latella delivers a warm gentle Seymour and sings well. He uses the stage confidently and effectively and is credibly shy and self-effacing. His love interest, Rose Harvey is impressive in her first musical leading role. Her acting is strong, her voice is true and sweet, and their love song duet was moving and believable. Her solo work is captivating and she portrays a vulnerable, Monroe style, idealistic girl whose wide-eyed looks scream, ‘rescue me’. She is well-costumed and looks appealing despite a very ill- fitting wig that, if anything, ages her.

The 10-piece orchestra, led by Liam Phillips, is well balanced and clearly includes skilled performers in their own right. Comment must be made that AllPro Audio, and operator Scott Thompson, have the sound balance and cast microphones ‘just right’, ensuring that the show is easy and clear to listen to.

The work of the four puppeteers is also very well done, which is no small feat once Audrey 2 becomes ‘monster size.’ The carnivorous plant is a very real character due to their work. MCMT offer a fitting ‘thank you’ to Matt Byrne, a much-loved Adelaide theatre icon lost too soon, for the Audrey 2 puppets that featured in his original production. They certainly appear to have enjoyed having another ‘hurrah’.

The set, lighting and props are areas that are not as strong as other aspects. The set could be more imaginative and finished off with attention to detail like joining flats. Rather than looking like it is doing poorly, the shop looks unfinished. The follow spots meander rather than follow and there are often dark spots on stage suggesting that someone is new to lighting and lighting plots.

Director Justine C Lewis does not make it clear what the era is and consequently some costumes are very 1960’s, but others are not. The use of iPads and mobile phones, and a current Australian magazine left me further confused. Having said that, the use of the auditorium for vignettes drew the audience in and allowed the ensemble’s energetic, exuberant performances to shine.

MCMT is a fine example of community-focussed theatre where people are encouraged and supported in growing and polishing their skills. Little Shop of Horrors has a very short season, so do hurry this week to see this fun-filled show.

Jude Hines