Review: South Coast Repertory Presents LITTLE SHOP OF HORRORS

Fortuitously timed to coincide with Halloween-time, OC's Tony Award-winning regional theater South Coast Repertory opens its 61st season with an eye-popping, thoroughly entertaining production of one of musical theater's most unique and remarkably enduring theatrical curiosities, LITTLE SHOP OF HORRORS—the hit 1982 off-Broadway phenom featuring music by Alan Menken and lyrics and book by the late Howard Ashman, the team who would later become bigger household names thanks to their Academy Award-winning work ushering in the Disney Animation renaissance that included films like The Little Mermaid, Beauty and the Beast, and Aladdin. 

A horror-comedy rock musical rooted in unapologetic B-movie cheekiness and shlock, LITTLE SHOP OF HORRORS is loosely based on director Roger Corman's cult 1960 low-budget film of the same name. The stage musical would then later be adapted into a feature film in 1986 starring Rick Moranis and Steve Martin and directed by Frank Oz.

For SCR's impressive brand new local revival, the show gets a hyper-hybrid treatment helmed by Jenn Thompson, combining memorable, nostalgic elements inspired by the original but then infusing it with super-fun 21st-century sass and sensibilities. Alongside its jawdropping visual splendor—highlighted by its gigantic carnivorous star that literally takes over the stage by the second act—the show also features a superb, talented ensemble cast that sing and dance up a storm. 

The resulting must-see production is a blissfully-raucous, infectiously smile-inducing, big-budget Broadway-caliber presentation that will enchant both existing fans and newbies that have never experienced this musical.

A horror-comedy rock musical rooted in unapologetic B-movie cheekiness and shlock, LITTLE SHOP OF HORRORS follows the story of grown-up orphan Seymour Krelborn (the adorkable and spirited Emerson Boatwright), a shy and awkward florist's assistant who works at a struggling flower shop on Skid Row owned by his adopted father, the curmudgeonly Mr. Mushnik (Geoffrey Wade). 

One evening during a total eclipse, Seymour discovers a mysterious, exotic plant that looks remarkably like a Venus Fly Trap. He names it "Audrey II," in honor of his co-worker and unrequited crush, Audrey (the wonderful Michelle Vientimilla), who, we soon learn, seems to be trapped in a physically abusive relationship with a cruel, masochistic dentist named Orin (scene-stealing Derek Manson), often leaving her with bruises and injuries. 

Seymour's uniquely odd plant—once placed in the front window for passerby's to see—slowly brings fame and fortune to the shop which really needed the financial boost to keep its doors open.

But, unfortunately, Seymour—after accidentally pricking his finger and drawing blood on some rose thorns—soon learns that Audrey II is "alive" and surprisingly sentient, displaying a constant thirst for drops of his blood with each baritone-sounding plea of "feed me." For SCR's production, Audrey II comes alive thanks to the combined talents of the awesome Michael A. Shepperd who provides its menacing deep voice, and Joe Gallina who is the plant's agile puppeteer underneath all that vegetation.

And as the Lou Rawls-sounding plant becomes larger and hungrier—and more vocally demanding to get raw human flesh—Seymour faces an onslaught of moral dilemmas, including feeding Audrey II actual people in order to keep his newfound fame and success, which he feels might aid him win Audrey's love and save her from her sadistic boyfriend. 

Blending dark humor, catchy 60's Motown soul-inspired songs, and themes of greed, ambition, and the dangers of unchecked ambitions, this enjoyable musical comedy continues to be celebrated as a fun, campy classic, and even more so when the production of it is as good as this. 

At its core, the musical is a dark satire of consumerism and greed—that could happen to even the kindest, gentlest, and meekest amongst us. Seymour's rise from a mousy, unnoticed, downtrodden florist's assistant to someone with sudden wealth and fame—driven by the growing popularity of having Audrey II—mirrors classic Faustian tales of so-called "deals with the devil." The musical, in its humorous, cheeky way, explores how far some people are willing to go to achieve success, and what they are willing to justify even at the expense of morality.

And while, sure, the show certainly presents characters that are exaggerated archetypes, this machination serves the overall satirical tone of the show—pretty much what most audiences have come to enjoy about it. Here, Seymour is an "everyman" protagonist—a lovable loser trapped in a dead-end job while pining for a seemingly unattainable bombshell gal, and whose desperation to be loved and be successful leads him down a very dark path that can't even be dissuaded by his own conscience. His character arc—from timid underdog to morally compromised anti-hero—is compelling to watch, especially when paired with downright sarcastic songs.

SCR's production is blessed on all fronts, from the casting of its leads and supporting cast—that includes a spunky, spectacular-sounding trio of "street urchins" performed by Celeste Butler, Roslyn Cortes, and Holly Jackson—to the show's live musicians and visual aspects.

Michael Schweikardt's puppet designs for Audrey II was an instant WOW, even before each growth iteration started to move. 

Easily the musical's most memorable character, Audrey II blends humor and menace in a way that reflects the show's overall sardonic, B-movie tone. As the plant's power grows, it becomes both a literal and metaphorical villain, representing the consequences of Seymour's surrender to his own selfish motivations. And when the plant's largest form finally morphs into the towering monstrosity it becomes in Act 2—holy heck, this show has just literally hit the heights. It was mesmerizing and spectacular… and a true testimonial for the power of theatrical magic.

Meanwhile, the show's world-establishing set designed by Alexander Dodge and its gloriously period-perfect costumes designed by Jessica Ford help exude its location and time—and, of course, very cheeky tone. 

Angela Steneir's musical direction of Robert Billig's vocal arrangements and Robert Merkin's orchestrations bursted with nostalgic euphoria in every song (thankfully the sound balance was fixed by the show's second act on opening night, which overwhelming favored the volume of the band over the cast).

And, honey, there is dancing in this show—courtesy of some fun moves choreographed by Patricia Wilcox that gave Seymour some confidence and the street urchins some saaaasssss (watching these three ladies strut and spout attitude with every lyric belt and coordinated movement was worth the price of a ticket alone).

Boatwright makes for a fun, adorable Seymour—equal parts nebbishy and spunky with hints of a caged-up tiger needing to be let out. Manson is especially impressive as not only the over-the-top, hyper-sadistic Orin, but his multiple turns as various side characters that pop in-and-out with distinctive quirky personalities. At one point he literally walks into a scene as one character, walks out, then comes back in as someone else, leaves, then strolls back in as yet another character—all without missing a step or change of mannerism.

But, perhaps, the show's true heart and soul is the human Audrey, played with endearing vivaciousness by Veintimilla. Her awards-worthy portrait of Audrey, the sweet but abused love interest, provides emotional depth to the show, all while putting on the vocal cadences of past Audreys before her. Her character's dream of escaping Skid Row and her abusive relationship effortlessly evokes empathy from the audience, particularly in her vocal and acting work on the show's signature ballad "Somewhere That's Green," which stands out as a poignant moment. With a touch of humorous lyrics, the song offers a bittersweet glimpse into Audrey's seemingly unattainable hopes and dreams. Veintimilla succeeds in exuding over exaggerated naivety while also providing a necessary vulnerability that is a crucial part of the show's emotional pull.

Overall, SCR's exemplary, high-caliber production of LITTLE SHOP HORRORS is a winning iteration of a classic high-camp musical. It leans wholeheartedly into the show's clever, imbedded blend of horror, comedy, and catchy music that offers a still-relevant satirical critique of consumerism and ambition that shows the resulting consequences of moral compromise. Its themes of greed and moral decay—set against the backdrop of 60'S Skid Row—give the show a lasting social and cultural resonance even within today's new world view.

The musical's time-tested inventiveness, memorable score, and campy yet dark humor have made it a beloved, go-to staple of musical theater, which SCR has embraced in enhanced ways with its eye-popping stage theatrics. If you want to experience what a Tony-winning regional theater can do with this specific title, it's safe to say that this production is the one to see.

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Photos by Robert Huskey, courtesy of South Coast Repertory.

Performances of LITTLE SHOP OF HORRORS at South Coast Repertory has been extended through October 20, 2024. Tickets can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa, CA. 

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