BWW Reviews: MJR Theatricals | Music Box Musicals' LITTLE SHOP OF HORRORS is Spirited and Fun

As the dog days of summer needlessly drag on in Houston, enveloping the city in oppressive heat, Michael J. Ross' MJR Theatricals | Music Box Musicals is presenting LITTLE SHOP OF HORRORS. Roger Corman's notorious 1960 low-budget horror-themed comedy The Little Shop of Horrors serves as the basis for this cult favorite and classic musical. The cherished musical premiered on May 6, 1982 at the Workshop of The Players' Art (WPA) Theatre. It went on to garner critical acclaim Off-Broadway when it opened on July 27, 1982 at the Orpheum Theatre. The Off-Broadway production enjoyed 2,209 performances across its 5 year run. Its popularity and notoriety lead to the 1986 film adaption of the musical as well. 31 years later, the musical is still a favorite among producers and audiences alike, and MJR Theatricals | Music Box Musicals' production easily proves why.

While the musical satirizes everything from 'B' movies to the Faust legend, behind the alluring tendrils of the man-eating plant is a story about hope and love. Both of the leading players dream of escaping the harsh realities of poverty and moving up a level or two in America's monetary based system of social stratification. They also dream of a true and tender love. A love that may be better than they deserve and will also serve to better their squalid lives. This all too relatable core of the show is what director Michael J. Ross succeeds in emphasizing and presenting to his audiences. In his director's notes he asks that we set aside our ideas of what we feel the show should be and take a leap "to simply watch, engage, and enjoy" what he and the cast have prepared for us. As a diehard LITTLE SHOP OF HORRORS fanatic, I can assure you that in doing this you will fall in love with his cartoonish, campy vision for the material. This LITTLE SHOP OF HORRORS embraces the indelible heart of the show and leaves audiences smiling and laughing all night long.

Choreography by Adam W. Delka is feisty and humorous. Many of the steps make the hearts of the gathered audience exclaim "Aww! How cute," especially during numbers like "Da-Doo." At other times, the steps and moves are eye-catching, steamy, and sexy, especially during "Feed Me (Git It)." Most of the choreography and dancing is given to the trio of girls that make up the Greek Chorus of street urchins, but Adam W. Delka's work brings a sprightly and laugh-inducing tone to "Mushnik and Son" as well.

Stepping into the role of Seymour Krelborn, Michael J. Ross is charismatically youthful. He utilizes a deftly rehearsed set of facial expressions and comical mannerisms to bring a fresh, cartoonish zeal to his take on the character, particularly during the murder mystery-esque book scene that leads into "Suppertime." Vocally, Michael J. Ross' smooth instrument sounds great on numbers like "Grow For Me," "Mushnik and Son," "Sudden Changes," "Feed Me (Git It)," and "The Meek Shall Inherit." His sweetly crooned a cappella opening for "Suddenly Seymour" is a brilliant change made to the score that immensely pays off.

As Audrey, Kristina Sullivan is sweet and gentle. In her characterization she drops the accent that Ellen Greene practically made synonymous with the role. She looses the squeak that Kerry Butler infused the character with for the shows' 2003 Broadway debut. Her Audrey is quietly refined while being an emotional mess. On the other hand, her makeup is gaudy like her signature tacky outfits. When it comes to signing, Kristina Sullivan's voice has a distinctly trained polish. The notes she produces are gorgeous, but I found myself missing some of the rougher and raw aspects other actresses have been able to put into the score, especially on the poppy slides. Kristina Sullivan does lovely renditions of "Somewhere That's Green," "Suddenly Seymour," "Sominex," and "Somewhere That's Green (Reprise)."

Jimmy F. Phillips' take on Mr. Mushnik is grumbling and amusing. He brings out the stereotypical Jewish aspects of the character by incorporating a melodramatic flair whenever possible. He smartly avoids subtlety and lets the character exist as a caricature. Jimmy F. Phillips' sings well on "Downtown" and "Finale (Don't Feed the Plants)," but doesn't miss the opportunity to showoff his ability to hold out a note and to own the stage during "Mushnik and Son."

Tackling a handful of roles, Luke Wrobel does great work as the Narrator, a wino, a fun and animated customer, the radio announcer, Bernstein, the hysterical Mrs. Luce, the awkward Skip Snip, PatRick Martin, and the delightfully sadistic dentist Orin Scrivello, D.D.S. Each of his roles in overacted and overdone in all the right ways and skillfully differentiated from one another. Luke Wrobel shines on "Dentist!," clearly having fun with both the character and song.

Beth Lazarou's Chiffon, Teresa Zimmermann's Crystal, and Arianna Bermudez's Ronnette are excitable and giddy. Whether they are appearing in their street clothes or audacious costumes and wigs, each woman is obviously having a great time with her character and brings an electrifying energy to the production. As an ensemble, the trio works well together and they also brightly grab their moments in the spotlight with fiercely thrown diva hands and gospel-inspired stink faces that purposefully accompany each of their solos. At last night's opening performance, the girls fought over correct pitches during "Prologue (Little Shop of Horrors);" however, as the show progressed, they evened each other out and proved strong for a majority of the production.

Voicing Audrey II and appearing as a wino at the top of the production, William Martin does laudable work. No matter how hard we try to forget Levi Stubbs' vocals from the 1986 film, they will always be imprinted on our mind. Regardless, William Martin brings a nice pop flavor that isn't completely rooted in the traditions of Motown to his versions of "Feed Me (Git It)," "Suppertime," "Suppertime II," and "Finale (Don't Feed the Plants)."

The small band handles the score well. Occasionally Donald Payne's electronic drum set didn't co-operate with him. This was most noticeable was when he tapped one pad in time with Orin's slapping of Audrey and no sound was produced. Despite this, the band plays the energetic score with the requisite liveliness. They also bring out the darker overtones, making pieces like "The Death of Audrey," my favorite passage from the underscore, standout as beautiful moments.

The technical aspects come together well, making the production all the more enjoyable. The Puppet Design reflects the cartoonish elements worked into the show, decisively using a bright color palate and fuzzy materials. The only drawback was catching glimpses of Thomas Schanding's arms in the third puppet. I know it's hot, but a red long-sleeved shirt may help disguise him better. Costume Design by Adam W. Delka and Michael J. Ross recreate appropriate 50s fashions for a majority of the production. The designs are the most striking when the trio of urchins come out in loud and splashy outfits that would make Florenz "Flo" Ziegfeld, Jr. proud. Likewise, the Lighting Design is agreeably done except for the overhead spotlight on Seymour. The bill of his baseball hat shrouds his face in unsatisfactory darkness during these scenes. Lastly, Melanie Islieb, Marco Camacho, and Thomas Schanding's Scenic Design is pleasing. They exceeded my expectations in their ability to shoehorn Mushnik's Floral Shop onto the small stage at The Music Box Theater.

With a show that is staged with frequency, it is hard to be original and distinctive. Michael J. Ross' direction of LITTLE SHOP OF HORRORS stands out for paring the show down to its fun loving and its widely yoking heart. No matter who you are, you will see something of yourself in the central dreamers and their supporting cast. While there are really no punches to be pulled or tricks to be had, this production is spirited and most importantly fun. In all honesty, the only surprise is the exclusion of "Call Back in the Morning." I'm actually shocked that I didn't miss the enjoyably tuneful ditty at all.

Running Time: Approximately 2 Hours, including one fifteen minute intermission.

LITTLE SHOP OF HORRORS, produced by MJR Theatricals | Music Box Musicals, plays The Music Box Theater at 2623 Colquitt Street, Houston, 77098 now through August 31, 2013. Performances are Thursday - Saturday at 8pm and Sundays at 2pm. Tickets are $35-$45. For tickets and more information, please visit http://www.themusicboxtheater.com or call (713) 522-7722.

Photos courtesy of MJR Theatricals | Music Box Musicals.

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