review - LITTLE SHOP OF HORRORS - Arizona Regional Theatre

Isaac Wesley Wilson, Scott Davidson, and Lauren Hardcastle
photo by Carly Weekley

by Carolyn Thomas

Little Shop of Horrors is a cult classic musical fun for both audiences to watch and casts to perform, but it brings with it the challenge of living up to fan expectations while still bringing something new to the table. Arizona Regional Theatre's production manages to do both with flair. ART's Little Shop takes chances, but never strays too far from the lovable elements fans will expect.

Originally a low-budget movie in 1960, then an Off-Broadway musical in the early 1980s and eventually a 1986 musical movie starring Rick Moranis and Ellen Greene, Little Shop of Horrors' following has only grown over the years. With a score by Alan Menken (which is enough of a selling point to get me to see anything really) and book and lyrics by Howard Ashman, who both went on to write and compose for Disney movies in the future, Little Shop withstands the test of time about as well as any Disney classic.

The story follows a down-on-his-luck flower clerk, Seymour, who stumbled upon a strange and interesting plant he affectionately dubs Audrey II, named after his vampy, sweet-hearted coworker Audrey. Seymour struggles to keep Audrey II alive, until he discovers the secret ingredient the plant craves most: human blood. For those only familiar with the movie, be advised that the stage musical has a different ending (which I personally prefer over the movie's).

ART's Little Shop of Horrors excels in many ways, and even manages to surprise those that know it by heart (like yours truly). The only real weakness of the production is the tendency to do a little too much, but the positives far outweigh the negatives. The full ensemble's initial "Skid Row" is goosebump-inducing in the best way, and is easily the most successful number in the entire show. The musical direction, staging, direction, and performances in this particular number are the best I've seen in any Little Shop production. The tenants of Skid Row become the real heart of the song, each of their longings and hopes take center stage all together, not just as background characters to Audrey and Seymour. In contrast, Audrey's "Somewhere That's Green", one of the more iconic songs in the show that's beautifully sung by Lauren Hardcastle,  is typically a star in it's own right. The full effect is sadly lost in this production due to a distracting flurry of movement from other characters and unnecessary props. What is typically a lovely daydream of a ballad becomes a miniature parade, and we lose our connection with Audrey. Bold choices are commendable, but this is one instance where the ingenuity doesn't quite pay off.

Isaac Wesley Wilson plays the plucky Seymour with an honesty that makes him wholly relatable from the get-go. He takes the audience on a journey with him from start to finish, and boasts an impressive vocal range along the way. Hardcastle's Audrey is just the right amount of mousy, vampy, and lovable, though (perhaps due to direction) her behavior around Orin Scrivello (D.D.S.) paints her more like a shy stranger than a battered girlfriend. Her lovely voice and doe-eyed optimism make her a sure audience favorite. Scott Davidson reprises his role as Seymour's boss, Mushnik, which he also played in a production with The Phoenix Theatre Company roughly a year ago. He brings fun and spirit to the role with vivid expressions and physical comedy, a treat and a perfect complement to Hardcastle and Wilson.

Nathan P. Alfred plays the incomparable Audrey II with exactly the amount of sinister sass to be expected from the man-eating plant. Jason Hammond plays Orin Scrivello (D.D.S.) with a style that is uniquely his own. Hammond's take on the demented dentist is a mixture of dorky sex appeal and cruel delight. The three urchins Savannah Alfred, Kiera Williams, and Jonice Bernard all work together well, but with her hilarious expressions and constant connection with the audience, Savannah Alfred as Crystal is a sure stand-out. Ensemble member Kyle Steven Webb shines each time he's given the chance, though there's not a weak link in the entire ensemble.

Director and Choreographer Kimberly Sheperd stages Little Shop with a unique focus on the people of Skid Row that truly breathes life into every street walker, passerby, and window-shopper. Some moments are far stronger than others ("Skid Row" vs. "Somewhere That's Green" being a prime example), but she gives the audience more of a connection with the ensemble than most productions do, and that truly sets this show apart. Sheperd's choreography is simple and well-suited to her performers. It's similar to what fans will expect, but has some personal touches. Music Director Lincoln Wright has a true success with "Skid Row" in particular, but Wright's wins don't end there. Managing the sound of an onstage band is no easy task, but Wright tackles the challenge so seamlessly that it's easy to forget the band is right there. There's just enough familiar foundation and just enough creative flair to truly showcase the catchy music of Little Shop for both new and old audiences.

Jerrad Stutzman deserves applause for his sound design, especially in tandem with Wright's musical direction and handling the task of using an onstage band without overpowering vocals. Jordan Daniels' lighting design plays with many familiar elements, primarily the use of saturated red lighting in more macabre moments, but overall the lighting isn't quite consistent. More than once, stars stand in dim light through several lines, though this could be attributed to a late cue or technical difficulties. Set design, also by Kimberly Sheperd, gives the stage versatility and easy transitions while perfectly showing off the flavor of Skid Row in every detail. Kayla Etheridge's costumes tell as much of a story as the music, each suiting their character quite perfectly with a sense of fun that's certainly not lost on the audience. A cleverly bedazzled dentist jacket and smart onstage quick changes are just some of the highlights audiences can expect from this production. Sheperd and Etheridge both also produced props that blend in perfectly with the other design elements.

With only minor critiques, it's safe to say that ART's Little Shop of Horrors hits all the right notes. The performance of "Skid Row" alone is enough to justify buying a ticket.

CLICK HERE for more information on this production, which runs through June 30