Thomas Hobson, Grace Stockdale and Jay Brian Winnick (Photo by Jason Niedle)
Reviewed by Madison Mellon
La Mirada Theatre For the Performing Arts
Through October 11
RECOMMENDED
Travis Joe Dixon and Thomas Hobson (Photo by Jason Niedle)
Little Shop of Horrors really needs no introduction. Its blend of infectious doo-wop, dark comedy, sci-fi, and giant plant puppets has made it an enduring favorite. It is a lighthearted horror-comedy on the surface, while underneath lies a Faustian cautionary tale about the price we’re willing to pay for success, love, and acceptance. It follows Seymour Krelborn, a hapless florist who discovers a mysterious plant that offers him everything he wants in exchange for human blood.
It is also, at least in my mind, a deceptively tricky show to get just right. Howard Ashman’s book and lyrics are written with remarkable precision, without much fat or filler, leaving little room for loose timing or moments that don’t land. Directed by Michael Matthews, La Mirada Theatre’s production is energetic and thoroughly enjoyable with first-rate production values, although it doesn’t reach the level of sharpness that can make Little Shop truly shine.
To start with, the production looks fantastic. La Mirada has rented the sets, props, puppets and costumes from the 2003 Broadway revival tour, resulting in a richly detailed production with nearly every bell and whistle one could hope for. Steven Young’s lighting works beautifully with the set’s dramatic skyline to give the proceedings the necessary “sturm and drang.” Although this production design is not original to La Mirada, it is a treat to see it all in action.
The cast likewise has fun finding distinctive takes on well-worn characters. Travis Joe Dixon brings terrific physicality and comic timing to “motorcycle dentist” Orin Scrivello and his assortment of smaller roles (his coked-out, manic Skip Snip is among the evening’s funniest and most original bits). Grace Stockdale smartly avoids imitating the inimitable Ellen Greene as Audrey, instead offering a breathy, slightly anxious characterization with an appealing streak of street smarts. Joslynn Cortes, Janaya Mahealani Jones and Marisa Moenho bring enormous vocal energy from the jump as Crystal, Ronnette and Chiffon, keeping things moving with charisma and well-placed quips.
Thomas Hobson’s lead performance as Seymour was less consistent at the performance reviewed. He appeared to struggle vocally at times, speaking through portions of the score and not giving a fully confident performance. La Mirada did announce via Instagram that his understudy went on for the subsequent performance, so it seems possible this was not representative of Hobson’s usual work in the role.
That uncertainty also colored the evening more broadly. For all that works, the production has moments that feel under-rehearsed. Many musical numbers are knocked out of the park, aided by Jennifer Lin’s musical direction, an excellent high-energy band, and Clarice Ordaz’s choreography. Elsewhere, there are dropped or incorrect lines, actors occasionally struggling with props or the cramped playing space, and musical cues occasionally miss their mark, leaving performers momentarily stranded. Much of the humor works beautifully, yet a few gags need fine-tuning or overstay their welcome.
Each instance is tiny, and audiences less intimately familiar with the show may barely notice them. By almost any account, this is a solid production of a bulletproof crowd-pleaser, and any speed bumps will likely be smoothed out as the run continues. But taken together, the evening’s slight unsteadiness made it difficult to simply surrender to the show.
La Mirada Theatre For the Performing Arts, 14900 La Mirada Blvd., La Mirada. Thurs., 7:30 pm, Fri.-Sat., 8 pm, Sat., 2 pm, Sun., 1:30 and 6:30 pm; thru Oct. 11. www.LaMiradaTheatre.com
