Review: Breathing Fresh Air Into a Cult Classic with LITTLE SHOP OF HORRORS at Straz Center

"Far from Skid Row, I dream we'll go, Somewhere that's...Green."

Little Shop of Horrors is a horror comedy rock musical with somewhat of a cult following, much like Hedwig & the Angry Inch, and The Rocky Horror Picture Show. Featuring music by Alan Menken and a book by Howard Ashman, the musical premiered off-off-Broadway in 1982, then moved off-Broadway to the Orpheum and enjoyed a five-year run. The musical is loosely based on the 1960s film.

There are many known differences between the film and the musical which change the story. The musical does well at keeping up the darkly comic tone of the film, but omits several different plot points. Skid Row is an area of Los Angeles officially known as Central City East, and the musical's setting is set in Skid Row, New York. Seymour's mother is omitted from the musical and he is left an orphan under the care of Mushnik, the flower shop owner. Orin Scrivello, the sadistic dentist and overall villain of the story, meets his maker at the hands of his own laughing gas, as opposed to being killed by dentist instruments, like in the film. Orin's abusive relationship with Audrey is used as a platform for Seymour's need to kill him and to ultimately use the plant as means of disappearance.

With well-known songs such as Skid Row (Downtown), Somewhere That's Green, and Suddenly Seymour, this musical is an homage to the '60s and features a trio known as the Urchin's, which is reminiscent of girl groups of the time period. The question here remains, how does a musical based in the 60s and so well known remain fresh, exciting, and new to even those of us who have experienced the story of Seymour and Audrey more than a dozen times? Do its themes and other content, such as lines about, "12-inch screens," and "Donna Reed," seem outdated, or still relevant to our time today as it remains so ingrained in the minds of those who experienced the 60s firsthand. It remains to be seen if the themes of such a well-known cult-favorite such as this have themes that become universal or just fall where they may.

This staging of Little Shop of Horrors produced in-house at the Straz Center's Jaeb Theatre, it is packed with fresh talent and some familiar faces. Each brings forth their all and delivers a well-developed performance despite extenuating circumstances. Having the show cast originally slated to open in 2020, we all know the story, and I will not use this time to beat the proverbial horse. Finally, after much rescheduling excitement is brimming at the opening night of Little Shop of Horrors.

From top to bottom, this cast is talented and brings their all every moment on stage. At the show opening, we meet the Urchins reminiscent of girl groups of the 60s, Chiffon, Crystal, and Ronnette. Each girl in the trio brings something special to their time on stage, but for my purposes best in the class of this group goes to Javisha Strong (Ronnette). With her smooth vocals, she stands out among the trio and becomes the one to watch. She blends perfectly with the others, but, for some reason, your eyes are constantly drawn to her to see what she will do next. All of the Urchins Taty Arroyo (Chiffon), and Marta Myada (Crystal) are a welcome addition to the story, and with each of them making their Straz debut, a welcomed addition to the theatre community. I will say at times, especially during larger group numbers the volume in their vocals was overpowering compared to the other performers on stage which pulled focus and were often distracting from the other characters as they were singing.

Paul Crane (Mushnik) is in his element here. From his solos to comedic timing, he is a great addition to the cast and a wonderful curmudgeon-type character with the best of hearts. He not only cares about his business, but the welfare of those in his life and wants what's best for them. The moments he shares the stage with Seymour are exceptional. The father-son camaraderie they share is a joy to watch.

Jonathan Harrison (Orin Scrivello, D.D.S.) is our sadistic villain of the story. His rendition of "You'll be a Dentist," is wonderful. He is also seen throughout the show as many different smaller characters, and you get a range of comedic timing that is top-notch. His Burnstein in Act II was reminiscent of Christopher Walken. I will say he is not as maniacal or sadistic as I would've liked to have seen. You get the sense on the surface that he is an overall bad guy, but I wish there was a little more push of the envelope.

Ashley Lord (Puppeteer/Ensemble), and Dylan Renfro (Puppeteer/Ensemble) are wonderful behind the movements of Audrey II. During each growth spurt, Audrey has depicted more movement and more ability and both do so with gusto. They are both a great addition to the cast, and without an Audrey II, there is no show. Bravo to this exceptional work and giving the plant not only feeling but an almost human-like nature.

Hannah McGinley Lemasters (Audrey) is the quintessential heroine of our story. Her beautiful voice and comedic timing make her a joy to watch. Something is endearing about Audrey and it gives the character depth. At the end of a beautiful Somewhere That's Green, you question whether you should be rooting for her, or waiting to see where her story goes. Her chemistry with Seymour blossoms into a beautiful story and you wish for them to always be together. Suddenly Seymour is a wonderful rendition of one of the most well-known songs from the story and Audrey and Seymour deliver the number effortlessly. Her reprise of Somewhere That's Green is heartbreaking, sincere, and effortless. Brava to Hannah in her Straz debut, as a transplant that travels in from Orlando she is a beautiful performer, and effortlessly talented in vocals and her Audrey is exquisite and I for one will be watching out for what Hannah does next.

Nicholas Perez-Hoop (Seymour) is top-notch here. He is every bit of nerdy that we need him to be, clumsy and aloof with a heart of gold. He cares for Audrey and falls for her and his dedication to his work is undeniable. I have had the pleasure of experiencing Nick's ever-evolving body of work, and I for one look forward to each time he is on stage.

He is committed to his art, and each time he takes the stage he breathes new life into any character he portrays. This is my first time experiencing his gravitas in the Musical Theatre arena and I will say he in no way disappoints here. From his first lyric in Skid Row to his delivery of Grow For Me, and his exceptional rendition of Suddenly Seymour, Nick is the perfect Seymour for the plight of the story and exquisite addition to the cast.

At times the band was slightly louder than the singers which made it difficult to hear at points, but that in no way deferred from his outstanding turn as Seymour. Having last seen him on-stage as (Jason/Tyrone) in Hand to God, earlier this season at Jobsite, he plays obsessed nerd with puppets exceptionally well, and just like other outstanding turns such as his role in Columbinus, I will always make it a point to catch this enigmatic performer on-stage, because he leaves everything on-stage every night and brings us right in with him. His Seymour is, in my opinion, his best work to date and up there with (Jason/Tyrone) and I for one cannot wait to see what's next.

For best in show in an already exceptionally talented cast goes to the beautiful Fo'I Meleah as Audrey II. Having first experienced her in Lizzie: The Musical as Bridgette Sullivan, where she in my opinion stole the show, no less is true here. Her Audrey II is bluesy, raspy, and a breath of fresh air. She is so exceptional here and you don't ever see her until the very end. Her voice shakes the rafters and you can't wait for the plant to sing and come to life. She is our Mean Green Girl and exceptional in every form of the word, this is her world and we are just lucky enough to be living in it, even for a short time. Following the finale ultimo(Don't Feed the Plants) we are treated to a mini-concert and she is 1000% in her element here. Donning a green-sequined dress and strutting center stage to a mic, we all become one with her at this moment. A perfect closing to an exceptional performance.

Technically sound Little Shop of Horrors has it all. The exceptional costume design by Anna Rosato-Acosta perfectly aligning our world with the time period in which the story is set. Jo Averill-Snell's Lighting Design works exceptionally well to evoke the moments of the story, and highlights Brian Smallheer's functional set design. Brian's Set Design's always evoke the right moment in which the story brings itself to tell, functional in design and clean lines, we sense the feeling of low-income based Skid Row and his work is always pleasing to the eye.

Tea Roberts' Scenic paint evokes the nature of the world of the show, and is exceptionally executed here. Alison Burns Choreography works well here and helps bring the musical moments to life. Matthew Ray and Briana "Bree" Brand as our Stage Management team move the show along at exceptional pace, and never once does the show lull or drag. Jeremy Douglass as the Musical Director and his band with Elwood Bond, Kenneth Walker, and Mark Warren provide exceptional accompaniment to move the plight of the story along. At times the band comes across louder than the singers which poses an issue hearing the lyrics. Techincally strong this Straz Produced work is exceptional in talent and design.

David Jenkins Producing Artistic Director of Jobsite and Guest Director for this in-house production assembles an exceptional Artistic Team and Cast to produce a wonderful night at the theatre. Some moments left me scratching my head. There was a moment when the Flower Shop was supposed to be closed and the closed sign was flipped to "open" and never changed. There was a moment when a puppeteer was seen walking on stage to control the smallest puppet.

Albeit minor issues that in no way changed my thoughts on the show, but issues nonetheless. I also didn't know if there was a way to level the volume on the mics at times when the Urchins are singing with the others on stage, I understand there are three of them but at times the volume was louder than others. There was another moment where a guy entered a scene and delivered dialogue, then exited, and immediately returned, it made me wonder was this a character choice, or did he forget his line?

The biggest abhorrent issue of the night lies in the fault of the audience. I'm unsure if the blame falls on the Pandemic-world in which we've resided for some time if alcohol was the culprit or both. It's 2022, shouldn't we know how to act and have a sense of decorum in a live setting. Especially in more intimate venues such as the Jaeb Theatre. Now, mind you this is about one specific table seated in the second row directly in the center. However, in such an intimate environment it only takes one table to ruin it for everyone, including the performers on stage. Loudly talking and then talking back to those who tell you to be quiet is among the many issues that had fallen on the evening at the hands of this table.

Not only did they enjoy a libation during the first act, but must have replenished said libation during intermission, because then dancing ensued. I am all for having a great time, but there is a manner in which you do so, especially in a live setting. It even took an audience member getting up to inform the venue of the issue, but nothing was done. It only takes one sour grape to ruin it for the bunch.

The same thing happened two weeks ago at a performance of Frozen, in which an audience member sitting in the row in front of me continuously recorded every other musical number in the show. It raises the question of how as a public going theatre audience are we supposed to act when in a live setting? If there are strict announcements made about photography and video being prohibited, should it not also be included that you will be removed at any moment you become disruptive in any way?

Theaters on Broadway are turning to devices that secure your phone which prevents the recording or use of photography, and I wonder if this is something worthy of adoption or will it create more issues in the long run? I for one will chalk it up to if you cannot hold your liquor do not consume, and when you're in a live setting do not be an asshat, because it ruins the evening for all involved and especially the performers on-stage who are doing their best to continue delivering their exceptional work. I commend the performers for sticking it out and seeing it through despite the actions of audience members. As I step off my soapbox, I feel that in 2022, a sense of decorum is needed, and if you have to be told how to act then maybe you should second guess whether an intimate venue is the right outlet for you to experience live events.

Little Shop of Horrors is in-house Straz Produced and onstage at the Jaeb Theatre through May 1st and cannot be extended. With an outstanding cast full of new and familiar talent this is the show you need to see. To local directors in the area, there is an exceptional talent pool within the Company of this show. Little Shop of Horrors delivers a fresh take on an already cult-favorite musical, and David Jenkins, Cast, and Crew and the Straz should be exceptionally proud of the work delivered here. If you are looking for a fun night out, then look no further than Little Shop of Horrors, as it is the most fun I've had at a live show in some time. Take a step back into the '60s, but remember whatever you do, "Don't feed the Plants!" Visit strazcenter.org for tickets.

PHOTO CREDIT: Ned Averill-Snell

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