LITTLE SHOP OF HORRORS, the dark and twisted rock musical about love, desire and a mysterious pot plant thrilled the opening night audience at Hayes Theatre. Presented by the same team behind the award winning SWEET CHARITY, this crisp, energetic reimagining of the comedy horror cult classic is another standout production and this year, the rest of the country will not miss out as LITTLE SHOP OF HORRORS is set to tour nationally.
Based on the Roger Corman's 1960 low budget, B-grade horror film of the same name, Alan Menken(music) and Howard Ashman's (Book and Lyrics) musical which premiered Off Broadway in 1982 is probably more generally known from Frank Oz's 1986 movie adaptation. For those unfamiliar with the award winning work, the story centers on Mr Mushnik's (Tyler Coppin) struggling florist shop in New York's 'Skid Row', most likely the Lower Manhattan Bowery district. The meek, orphaned Seymour Krelborn (Brent Hill), who Mushnik has taken in as cheap labor, finds an unusual specimen from the Wholesale Flower District which he names after the beautiful, ditzy, shop assistant Audrey (Esther Hannaford). The Audrey II captures the imagination of passersby, boosting sales and generating interest, changing the fortunes of the little shop but when it starts to wilt, Seymour discovers that the mysterious avocado shaped, Venus flytrap like creature responds to something more macabre than pot ash and water.
Owen Phillips has created a wonderful multi layered set that draws on the story's cinematic origins with a white curtain providing a screen for the welcoming transmission of a solar system alluding to the extraterrestrial connections followed by the news broadcast, with a famous guest appearance, which sets the ominous tone of the 'flashback' about to be revealed. The curtain hides the off-kilter flower shop where nothing is quite 'normal', in keeping with the story that unfolds. Phillips and Tim Chappel (Costume Design) draw the audience into a 1960's world with an incredible attention to detail, reflecting the initial bleakness of 'Skid Row' and the pitiful lives that inhabit it. The initially cute, verdant Audrey II, created by Erth Visual & Physical Inc, is the only color in the drab monochrome world. Erth Visual & Physical Inc's talents are put on display as Audrey II grows from an intriguing little pot plant to a flourishing monstrosity, the true nature of the 'vegetable' becoming apparent.
The central human character, Seymour Krelborn is presented with a beautiful sensitivity by Brent Hill. The caring, clumsy, and shy shop boy is initially presented with an innocence and naivety along with a lack of self-confidence as he moons over his beautiful colleague Audrey. Hill gives Seymour a gentle clear voice, perfectly suited to the mild character that generally appears to accept his lot in life. Whilst the other inhabitants of Skid row have distinct accents underlying the New York drawl, Seymour lacks any specific linguistic indicator as to his heritage, in keeping with his background as an orphan, taken in by Mr Mushnik. Hill presents Seymour with a physicality that expresses his desire to help and care but also the insecurity as to his ability to make a difference. Unusually, Hill also voices Audrey II, creating a contrasting soulful Deep South sound for the insatiable 'flower', which leads to the possibility that the suggestions the plant proposes may come from Seymour's subconscious rather than being an independent thought coming from the monster. Hill tackles the dual role with amazing skill and flexibility, all the while retaining the Seymour's physicality, belying the power required for the plant's deep tone and covering, to a degree, the dual role.
Esther Hannaford presents Audrey with a heart wrenching innocence, self-doubt and self-deprecation that makes it so understandable as to why Seymour wants to protect her from her masochistic boyfriend. Bottle Blonde Audrey is given an Eastern European undertone to her New York accent which Hannaford maintains well in both her speaking and singing voice which also has a sweet purity in contrast to the bold, brassy Urchins. Hannaford's clarity and power shines in Somewhere That's Green and Suddenly Seymour, both presented with strength but also sensitivity.
The sultry Urchins, styled on the 50's and 60's Girl Trios, provide a commentary and backup vocals as they weave in and out of the action with a seductive strut. Vocally, Chiffon (Josie Lane), Ronnette (Chloe Zuel), and Crystal (Angelique Cassimatis) each represent the migrants and lower classes that live in skid row, blending undertones of Hispanic, Italian and Asian into the Bowery accents that belt out doo-wop stylings.
Tyler Coppin captures the stereotypical New York Jew as scheming shop owner Mr Mushnik. He has a dejected physicality as he worries about the future of his shop and a calculating tone as he seeks to capitalize on Seymour's discovery. Scott Johnson presents Audrey's aggressive biker dentist boyfriend Orin Scrivello DDS, as an egotistical maniac with a James Dean swagger and a comic physicality in stark contrast to Seymour's insecurity.
Andrew Worboys (Musical Director and Keys) leads the 5 piece band from behind the set provides wonderful support for the rock and roll, doo-wop and Motown score. Sound DesignerJeremy Silver has ensured that a good balance between vocals and band and has created seat rumbling sounds that add to the atmosphere. The balance for some of the dialogue however is a little heavy for the intimate space, tipping some of the minor character appearances over the line from caricature to being too dominating.
This is a wonderful production with lots of surprises that I don't want to give away to ensure that audiences can have the same magical experience. It is clever, well-paced and innovative in its layered expression and Audrey II's growth is breathtaking. Beneath the twisted plotline of the all-consuming plant lay heartwarming stories of love, hope and ambition along with disturbing expressions of greed and dominance, providing a deeper meaning beyond simply 'don't water the plants'.
For Sydneysiders, do whatever it takes to secure a ticket before this season sells out. For interstate readers, get in now and buy tickets for the Adelaide, Melbourne, Canberra, Brisbane and Perth seasons.
Cast of LITTLE SHOP OF HORRORS (Photo: Jeff Busby)Seymour (Brent Hill) and Audrey II (Photo: Jeff Busby)Mr Mushnik (Tyler Coppin), Audrey II, and Seymour (Brent Hill) (Photo: Jeff Busby)Audrey (Esther Hannaford), Seymour (Brent Hill) and Audrey II (Photo: Jeff Busby)Seymour (Brent Hill) and Orin Scrivello, DDS (Scott Johnson) (Photo: Jeff Busby)
Tuesday 23rd February 2016, 7:30pm, Hayes Theatre, Potts Point
LITTLE SHOP OF HORRORS, the dark and twisted rock musical about love, desire and a mysterious pot plant thrilled the opening night audience at Hayes Theatre. Presented by the same team behind the award winning SWEET CHARITY, this crisp, energetic reimagining of the comedy horror cult classic is another standout production and this year, the rest of the country will not miss out as LITTLE SHOP OF HORRORS is set to tour nationally.
Based on the Roger Corman's 1960 low budget, B-grade horror film of the same name, Alan Menken(music) and Howard Ashman's (Book and Lyrics) musical which premiered Off Broadway in 1982 is probably more generally known from Frank Oz's 1986 movie adaptation. For those unfamiliar with the award winning work, the story centers on Mr Mushnik's (Tyler Coppin) struggling florist shop in New York's 'Skid Row', most likely the Lower Manhattan Bowery district. The meek, orphaned Seymour Krelborn (Brent Hill), who Mushnik has taken in as cheap labor, finds an unusual specimen from the Wholesale Flower District which he names after the beautiful, ditzy, shop assistant Audrey (Esther Hannaford). The Audrey II captures the imagination of passersby, boosting sales and generating interest, changing the fortunes of the little shop but when it starts to wilt, Seymour discovers that the mysterious avocado shaped, Venus flytrap like creature responds to something more macabre than pot ash and water.
Owen Phillips has created a wonderful multi layered set that draws on the story's cinematic origins with a white curtain providing a screen for the welcoming transmission of a solar system alluding to the extraterrestrial connections followed by the news broadcast, with a famous guest appearance, which sets the ominous tone of the 'flashback' about to be revealed. The curtain hides the off-kilter flower shop where nothing is quite 'normal', in keeping with the story that unfolds. Phillips and Tim Chappel (Costume Design) draw the audience into a 1960's world with an incredible attention to detail, reflecting the initial bleakness of 'Skid Row' and the pitiful lives that inhabit it. The initially cute, verdant Audrey II, created by Erth Visual & Physical Inc, is the only color in the drab monochrome world. Erth Visual & Physical Inc's talents are put on display as Audrey II grows from an intriguing little pot plant to a flourishing monstrosity, the true nature of the 'vegetable' becoming apparent.
The central human character, Seymour Krelborn is presented with a beautiful sensitivity by Brent Hill. The caring, clumsy, and shy shop boy is initially presented with an innocence and naivety along with a lack of self-confidence as he moons over his beautiful colleague Audrey. Hill gives Seymour a gentle clear voice, perfectly suited to the mild character that generally appears to accept his lot in life. Whilst the other inhabitants of Skid row have distinct accents underlying the New York drawl, Seymour lacks any specific linguistic indicator as to his heritage, in keeping with his background as an orphan, taken in by Mr Mushnik. Hill presents Seymour with a physicality that expresses his desire to help and care but also the insecurity as to his ability to make a difference. Unusually, Hill also voices Audrey II, creating a contrasting soulful Deep South sound for the insatiable 'flower', which leads to the possibility that the suggestions the plant proposes may come from Seymour's subconscious rather than being an independent thought coming from the monster. Hill tackles the dual role with amazing skill and flexibility, all the while retaining the Seymour's physicality, belying the power required for the plant's deep tone and covering, to a degree, the dual role.
Esther Hannaford presents Audrey with a heart wrenching innocence, self-doubt and self-deprecation that makes it so understandable as to why Seymour wants to protect her from her masochistic boyfriend. Bottle Blonde Audrey is given an Eastern European undertone to her New York accent which Hannaford maintains well in both her speaking and singing voice which also has a sweet purity in contrast to the bold, brassy Urchins. Hannaford's clarity and power shines in Somewhere That's Green and Suddenly Seymour, both presented with strength but also sensitivity.
The sultry Urchins, styled on the 50's and 60's Girl Trios, provide a commentary and backup vocals as they weave in and out of the action with a seductive strut. Vocally, Chiffon (Josie Lane), Ronnette (Chloe Zuel), and Crystal (Angelique Cassimatis) each represent the migrants and lower classes that live in skid row, blending undertones of Hispanic, Italian and Asian into the Bowery accents that belt out doo-wop stylings.
Tyler Coppin captures the stereotypical New York Jew as scheming shop owner Mr Mushnik. He has a dejected physicality as he worries about the future of his shop and a calculating tone as he seeks to capitalize on Seymour's discovery. Scott Johnson presents Audrey's aggressive biker dentist boyfriend Orin Scrivello DDS, as an egotistical maniac with a James Dean swagger and a comic physicality in stark contrast to Seymour's insecurity.
Andrew Worboys (Musical Director and Keys) leads the 5 piece band from behind the set provides wonderful support for the rock and roll, doo-wop and Motown score. Sound DesignerJeremy Silver has ensured that a good balance between vocals and band and has created seat rumbling sounds that add to the atmosphere. The balance for some of the dialogue however is a little heavy for the intimate space, tipping some of the minor character appearances over the line from caricature to being too dominating.
This is a wonderful production with lots of surprises that I don't want to give away to ensure that audiences can have the same magical experience. It is clever, well-paced and innovative in its layered expression. Beneath the twisted plotline of the all-consuming plant lay heartwarming stories of love, hope and ambition along with disturbing expressions of greed and dominance, providing a deeper meaning beyond simply 'don't water the plants'.
For Sydneysiders, do whatever it takes to secure a ticket before this season sells out. For interstate readers, get in now and buy tickets for the Adelaide, Melbourne, Canberra, Brisbane and Perth seasons.
