Little Shop of Horrors
Reviewed by Lara J. Altunian
Morgan-Wixson Theatre
Through April 13
Surprisingly created by the two Disney veterans responsible for the company’s 1989-1999 Renaissance, the plot of Howard Ashman and Alan Menken’s 1982 cult classic musical steers about as far from their famous cartoon-catered work as just about anything possibly could. Blood, death and world domination are all presented with a song and smile at Santa Monica’s Morgan-Wixson Theatre — along with more than a few unfortunate sound issues — in the bizarre and zany Little Shop of Horrors.
In the early 1960s, naïve Seymour (Patrick Olsen) is working at Mr. Mushnik (Marc Ostroff)’s flower shop in Skid Row, New York. Feeling worthless and unappreciated, things start to go his way when he comes across a new, unidentified plant resembling a venus flytrap at a local market. Seymour buys and names the plant Audrey II (voiced by Steven Flowers and controlled by Matthew Artson) after his coworker crush (Jess LaFever), and decides to place it in his employer’s shop window display so as to attract more customers. His plan works immediately and it isn’t long before patrons begin coming in left and right to see that plant named Twoey (for short) grow and to buy bushels of arrangements from Mushnik. Audrey, who is stuck in an abusive relationship, also begins to take more notice of the sweet Seymour, especially as he is solicited for lectures and dozens of newspaper and radio interviews about his discovery.
Seymour fails to mention that the reason for Twoey’s growth is an unquenchable thirst for human blood, which only temporarily curbs its hunger and eventually causes the plant to grow well over six feet tall. It isn’t long before Seymour’s self-inflicted small cuts aren’t enough to satisfy its need and desire for larger portions. The sheepish flower shop assistant is forced to decide whether or not he will take Audrey II’s feedings a step further to advance his success and escape from his impoverished life on Skid Row, or put a stop to the madness before it’s too late.
There are moments when the plot’s dark humor serves to alleviate the tragic tale’s morbidity, and others when it makes light of a serious situation. The actual story is a sad one, but with the help of Menken’s rock ’n’ roll, Motown, and Doo-wop music, it comes to life as more than just one-note or sentimental (although the emotional ballads are beautiful), even with some of its intentionally cheesier moments. Ashman’s song lyrics are catchy, but some of the “funnier” dialogue about Audrey constantly getting abused by her drug addict, sadist dentist boyfriend Orin (Brian O’Sullivan) feels outdated. However, I would be remiss if I failed to mention that many audience members were not negatively affected by the unfashionable jokes, and were howling in their seats.
Either way, the musical has its charms. Crystal (Tyra “Tyralucia” Dennis), Ronette (FreXinet Johnson), and Chiffon (Brayon Rollison)’s Greek chorus of dropout school girls helps soften some of the play’s transitional moments and add an additional voice of encouragement, doubt and morality when things go well or become too heinous. The ladies’ singing talent is remarkable, as is LaFever’s as showcased in some of the belting songs. Olsen is also able to hold his own, never dropping a note and genuinely gathering empathy for his characters’ ethical dilemmas. Flowers’ powerful “FEED ME”-s and maniacal laughter could shake a strongman, and Artson’s puppeteering (though briefly unsynchronized with Flowers during the first scene on opening night) keeps the plant looking vivid, even in moments when it’s not speaking or singing.
Mori Edwards’ choreography is fun and energetic, Thomas Brown’s set design fittingly drab, and Chris Tiernan’s costumes quite cute. D’Shaun A. Booker’s direction is fairly smooth, except for a few moments when the chorus girls completely upstage Olsen in scenes when they should’ve been complimenting his performance instead.
The one major setback the production experienced during its premiere was the sound. Despite the wonderful singing, the music often eclipsed the actors’ voices making many of the clever lyrics hard to hear. This even became a problem in talking scenes when the pre or post-song soundtracks took over the speakers.
Little Shop of Horrors sells on its nostalgia factor for all fans of off-beat, off-Broadway musicals. The show may not be for everyone, but Morgan-Wixson’s revival can thrive on the cast and crew’s enthusiasm once they get their sound situation fixed.
Morgan-Wixson Theatre, 2627 Pico Blvd., Santa Monica; Fri.-Sat., 8 p.m.; Sun., 2 p.m.; through Apr. 13. (310) 828-7519 or https://www.morgan-wixson.org/little-shop. Running time: two hours with one 15-minute intermission.
