Review: Little Shop of Horrors (Hope Mill Theatre / Liverpool Playhouse)

Review by Jack McCabe

⭐️⭐️⭐️⭐️

This season, Manchester and Liverpool are welcoming Thomas Hopkins and Sam's Entertainment’s new production of the darkly comic Little Shop of Horrors. 40 years since the release of the iconic 1986 film, Howard Ashman and Alan Menken’s musical tells the tale of ambition, desire, and the lengths we will go to escape the lives we have been dealt. Beneath the camp, comedic and catchy songs, it asks how much of yourself you are willing to sacrifice when success finally comes calling, especially when it has teeth. Would this production leave the audience rooting for more or would it wilt under pressure?

Little Shop of Horrors began as a low-budget comedy-horror film before becoming the much-admired stage musical, which first opened off-Broadway in 1982. Set in a struggling florist shop on Skid Row, it follows the nebbish and timid Seymour Krelborn, whose discovery of a strange and unusual plant promises a way out of the impoverished life he lives, provided he keeps it fed. Alongside that, chuck in a charismatic but vulnerable love interest together with a sadistic dentist addicted to nitrous oxide, and you have got all the ingredients needed for a brilliant musical.

The writing is where Little Shop of Horrors really sinks its teeth in. The book and lyrics by Ashman strike a difficult balance between laugh-out-loud absurdity, social commentary and moments of real beauty and vulnerability. Seymour’s desperation for a way out of his situation is disarmingly human, and Audrey II represents greed, ambition and the cost of wanting more. The dialogue is snappy throughout, the laughs do not stop, and the moments of tenderness are perfectly placed. Menken’s songs are, unsurprisingly, one of the biggest strengths of Little Shop of Horrors, with each piece being witty, clever and effortlessly catchy, transgressing between styles and advancing the story with each lyric sung. It is a score packed with personality and, 40 years on, these songs still have plenty of bite.

Carrie-Anne Ingrouile’s direction embraces the chaotic spirit of this production, keeping it moving with a pace that does not allow the energy to drop. It is a playful production allowing the comedy to be pushed far enough without losing sight of the darker themes embedded throughout. The direction makes this show feel larger than life and larger than the small theatre it is being performed in. Her choreography is also top class, keeping the performance as lively in its movement as in its music. The physical comedy and choreography work together seamlessly to heighten the humour and surreal world of Skid Row. As Audrey II does, Ingrouille’s direction allows this production to grow as it progresses throughout the evening.

One of the highlights of this production is undoubtedly Morgan Large’s set, costume and puppet design. Hope Mill Theatre is a wonderful but relatively intimate space, yet Large’s design was exceptional in transforming it into the grimy streets of Skid Row. There is an impressive level of detail packed onto the set without it ever feeling overly cluttered, creating a lived-in world which the audience feels instantly part of. The LED lights spelling out ‘Skid Row’ were a fantastic choice, providing a striking visual centrepiece whilst opening up to bring the audience into the different locations in which this story takes place. The brilliant set was complemented by classically designed costumes, a particular highlight being a new take on The Dentist, which was very funny as soon as it was revealed. Morgan Large also designed the puppets for this production, which evolve as time moves on and are an excellent sight to behold.

Jed Berry is immediately likeable as Seymour, capturing the character’s awkward charm and underlying vulnerability without moving into a caricature. His performance is beautifully sincere and brilliantly funny, making Seymour’s longing for a better life and his growing desperation to achieve it palpable. Vocally, his performance was impeccable, and the score is handled with confidence and class. His chemistry with Maisie Smith’s Audrey is believable, warm and moving, and the audience finds rooting for this pair very easy indeed.

Maisie Smith’s performance as Audrey is remarkable and portrays the vulnerability of her character beautifully. She captures Audery’s combination of insecurity, kindness and quiet resilience with sensitivity and makes her much more than the love interest in this story. Vocally, she is particularly impressive, and her performance of Somewhere That’s Green is particularly special and brings depth to one of the show’s most poignant moments. Smith gives Audrey a warmth that makes her completely captivating, and masterfully intertwines that warmth with brilliant comic timing.

The two leads are supported by a strong cast. Michael Starke is great fun as Mushnik and brings a gruff and eccentric energy to the owner of the initially failing flower shop, albeit he, on a rare occasion, did fall behind with the choreography. Despite that, he played this role wonderfully and evoked plenty of laughs from his time on the stage. Benjamin Yates impressed as Orin, the sadistic dentist, bringing a camp energy to him with a wonderfully exaggerated performance that steers clear of being overplayed. Rio Maye, Psalms-Nissi Myers-Reid and Gabrielle Davina Smith are excellent as the three street urchins, providing showstopping vocals and brilliantly funny moments. The puppeteering of Audrey II was mostly impressive, yet in moments of dialogue there were a number of occasions where the movement felt out of sync with the words.

With its infectious score and sharp humour, this production is one that understands exactly what makes this musical so enduring. The energetic direction, imaginative design and an excellent cast combine to bring Skid Row crashing into Hope Mill Theatre with a bang. There are a few elements which could be tightened, but these are minor blemishes on a hugely entertaining, brilliantly funny, and impeccably performed evening well worth getting your teeth into.

Little Shop of Horrors plays at Manchester's Hope Mill Theatre until 28 November, before moving to Liverpool Playhouse from 3 December until 9 January. Tickets from https://littleshopthemusical.com/

Photos by Danny Kaan.