REVIEW HIGHLIGHTS
After premiering over 40 years ago, and adapted from the 1960 cult film of the same name, Little Shop of Horrors still stands as one of the most cleverly constructed and immensely humorous stage musicals. With a tight book by Howard Ashman, catchy doo-wop-infused songs featuring Ashman's witty lyrics and Alan Menken's upbeat music, and a deliciously dark tone that mixes horror with campy comedy, it's a near-perfect blend of well-defined characters and unique storytelling. The musical's success lies in its balance of laugh-out-loud comedy paired with genuine heart and just enough bite in its dark humor to make the cautionary tale resonate. Stray Cat Theatre's production adds several original touches to the familiar story but, while it has a talented cast and impressive creative elements, most of the additions either fall flat or never truly land.
Set in a rundown flower shop on Skid Row, the story follows meek floral assistant Seymour, who discovers an unusual, fast-growing plant that brings him fame, fortune, and the chance to win the affection of his co-worker, Audrey. But the plant, named Audrey II, has a sinister appetite for human blood. As Seymour's moral compass falters under the weight of ambition, the musical explores themes of greed, love, and the cost of selling one's soul.
Under Ron May's direction, this production features a new approach and some additions, including a much darker tone. Unfortunately, not all of these changes work. Stray Cat is known for producing edgier plays, so the addition of some gore and blood aligns perfectly with what their audiences usually expect. However, there are a few new bits that pad the show unnecessarily, including two bathroom humor gags that fall flat, and a change to the last scene that, if you aren't already familiar with the musical, may have you scratching your head.
Another change May has made is that, as Audrey II grows larger, instead of having the usual large puppet, with an actor off stage who plays the character to represent the plant, he has Chanel Bragg, who voices Audrey II, in a plant-infused costume in full view on stage. This change actually worked very well for me, as you now get to see the person voicing the role instead of having them hidden off stage. It also allows for there to be clear interactions between Seymour and Audrey II that you don't quite get with a large puppet. May has also cast most of the roles against type, which is a nice and refreshing change.
Despite the uneven conceptual choices, the cast gives it their all. Bragg is simply superb as Audrey II, with a commanding and sweet, yet also sinister, delivery and vocals that soar and hit every corner of the theater. As Seymour, Isaac Greenland is appropriately endearing and navigates the character's shift from awkward underdog to desperate accomplice with sincerity. Audrey is portrayed with warmth and vulnerability by Estrella Parra. Hector Coris is excellent as Mushnik, the frazzled shop owner, and Nathan Spector leans fully into the comedic grotesqueness of Orin, the sadistic dentist. As the trio of street urchin narrators, Keilani Akagi, Arielle Tuffentsamer, and Leia Foehr add a few fun pops of humor, and Fernando Rubio, Taylor Caprara, Taylor Hudson, and Amaya Cooks, who also all serve as understudies, play multiple ensemble roles and all get a moment to shine and show off their rich vocals in the second act.
The production elements are very good. Tianna Torrilhon-Wood's set features dark angular designs, with apparent nods to German expressionism films such as The Cabinet of Dr. Caligari, and Jeff A. Davis' lighting continues that theme with shadows and hues that highlight the dark and dingy Skid Row streets. The costumes and puppet designs by Jessie Tully and Allison Gilkey are colorful and evocative of both the era and the decision to cast against traditional character type. Dolores E. Mendoza's props and Jennipher Rodowca's gore designs line up perfectly with May's creative direction. Mark 4man's music direction delivers fairly good vocals from the majority of the cast and a decent sound from the five-piece band, and Pete Bish's sound design, while good, suffers somewhat from an overpowering band.
...it's a noble attempt at providing a fresh spin on a classic musical, but not always a successful one. Fortunately, even if most of the choices don't work, the strength of the material and the performances ensures this Little Shop still has several moments that entertain.