author: Chris Pence
On the 12th day of the month of April, in a small auditorium not too far from your home, the human race suddenly encountered a deadly threat to its very existence, and this terrifying enemy surfaced, as such enemies often do, in the seemingly most innocent and unlikely of places… Anne Arundel Community College! Howard Ashman’s cult classic Little Shop of Horrors creeps with terrifying new life onto the AACC stage. Based on the classic B-movie of the same name, Little Shop follows Seymour, a down-on-his-luck orphan working in a Skid Row flower shop as he discovers a new and exotic plant that will lead him down a path of stardom, affluence…and murder. With an unforgettable score by Alan Menkin, this horror comedy rock musical will leave the audience debating the virtues of fame and fortune, while making them give a second glance to every flower that they see.
Director Madeline Austin brings new choices to the frequently performed show, seeming to focus the performance more on the story’s B-Movie origin than Frank Oz’s 1986 film. Appropriately enough, the show opened less than a week after the April 8th eclipse, leading the characters to don eclipse glasses during the prologue. Leading with a Greek chorus consisting of three Caucasian women, rather than three Black women, Austin changes the mood of the show a bit, making it feel like more of a 50’s show than a 60’s show. Austin also elected to have the fearsome Audrey II voiced by a female, losing some of the Levi Stubbs Motown feel in favor of a fierce female voice. The production embraces these changes and brings a new setting to the story.
Vocal Director Adam Beres leads the actors with ease through the various genres of music, blending the Motown, rock, and Broadway feel of the music to bring the story to life. There seemed to be some issue keeping to the tempo of the music in a song or two, though this was more of an issue with volume than vocal direction. With assistance from Rehearsal Accompanist Jack Benedict, Beres and the cast presented the score with confidence.
Sean Urbantke’s scenic design also seems to embrace more of a 50’s feel, as the set seems a little too clean and well organized to be in the middle of a slum like Skid Row. The choice to have a curtain up centerstage leaves little to the imagination on where the fearsome flora will sit throughout the performance but ensures that it will always be the center of attention. Urbantke shines when it comes to the minute details, however, with small but charming features like the constantly moving clock to show the passage of time, and the door sign reading “Sorry, We’re Open.” A large window next to the flower shop door allows for non-verbal comedy, as well as a place for the chorus to perform without stealing the scene.
Without the bloodthirsty bloom, Little Shop would be nothing, and Puppet Designer Gabby Bly brings renewed energy to Audrey II through renewed movement and design. Straying slightly from the original and movie designs, Bly adds a mohawk of spikes and more color to the pod, seeming to take inspiration from the Mario Brothers video games, as well as the punk rock scene. The atrocious avocado itself is set on wheels to allow for easy movement and presents as more of a costume than a set piece. While this does allow the pernicious plant more menace, the audience can clearly see the legs of the main actor, as well as the wheels on the platform, lessening the effect. Still, the design adds a livelihood to the botanical beast that most productions lack, especially when Audrey II lunges threateningly at Seymour during the “Feed Me (Git It)” sequence.
In keeping with the 1950’s theme, Costumer Designer Michelle Hickman, with help from Hair and Makeup Designer Shannon McElwee, creates a gradual movement from an assortment of colors of clothing during the introduction, to a theme of green clothing by the end. While some costumes were a little flashy and came off more Wizard Of Oz than Little Shop, Hickman made some fun and creative choices using the costumes to show Seymour’s decent into greed, as well as Audrey II’s gradual global takeover. Highlights of Hickman’s design include Orin’s minimalistic yet hilariously B-Movie gas mask, and the fly trap costumes worn by Audrey II’s victims in the finale.
The show’s choreography also seemed to harken back to the 1950’s, as directed by Choreographer Sierra Basilio. This was most prevalent in the movement of the Chorus, whose movement in the titular number felt like something out of a sock hop. An interesting addition to this number was the girls’ cigarettes, alluding to underage smoking and a “bad girl” image that felt like something out of Grease.
In the orchestra pit, Robert Merkin’s orchestrations came as smoothly as if he’d written the music himself. Along with Jack Benedict (First Piano), Linda Christensen (Second Piano / Synthesizer), Bailey Dicus (Bass Guitar), Billy Georg (Drums), and Joe Matthews (Guitar), the orchestra did well to set the mood of the production. The music itself could have been a little louder, to ensure the actors could properly hear it, but otherwise, the orchestra did the score justice.
Leading off the show, the Greek chorus of Ronette, Crystal, and Chiffon brings the audience into the action with the toe-tappin’, unforgettably catchy titular number. As portrayed by Abby Burns, Elania Kohrs, and Susanne Whitney, respectively, the chorus felt more like an homage to The Angels of the 1950’s, rather than the Chiffons, of the 60’s. As these characters are historically played by Black women instead of Caucasians, this choice did lead to a few scripted jokes falling flat, as they referenced more Motown lyrics than that of earlier girl groups. Regardless of this, the ladies held great harmonies, and moved like they had originated the dances.
As sadistic dentist Orin Scrivello (DDS!), Andrew Agner-Nichols brings a goofy air to the secondary antagonist, presenting as a demented Johnny Bravo type. His infectious giggling and growing abusiveness toward Audrey give the audience little pause for sympathy when his final fate is sealed toward the end of the first act. Agner-Nichols doubles as Skip Snip and Mr. Bernstein, two ruthless businessmen looking to win over America with the sinful shrub whose bloody goals are known only to the lowly protagonist Seymour.
Mr. Mushnik, the owner of the doomed flower shop where our show takes place, is portrayed with hilarious effortlessness by Martin Egna. Egna’s constant grumpiness and less-than-subtle New York Jewish accent feel reminiscent of Jerry Stiller. His true motives for adopting Seymour are abundantly clear in “Mushnik & Son,” caring much less about what happens to Seymour than to his business.
And then there’s Audrey, lovely Audrey. Ally Baca’s portrayal of the dopey, adorable love interest brings heart and charm to the story. A phenomenal vocalist, Baca does try a little too hard during the lovers’ ballad “Suddenly Seymour,” but hits the nail on the head with the tragically funny “Somewhere That’s Green.” Her final scene brings the audience nearly to tears with her tender vocals and warm dedication to her newfound love.
The protagonist of our tragic comedy, Seymour Krelborn, longs for love, hope, and just a little too much recognition. Playing the easily manipulated optimist, Ethan Keller creates with Seymour a lovable ignorance that proves to be his downfall when he can’t release himself from the tendrils of greed, fame, and the murderous foul-mouthed fly trap that he raised. He doesn’t seem to quite fall head over heels for Audrey as in most productions, but seems to struggle more with the decisions he must make regarding his unrequited love for his coworker versus the big-mouthed mutant beckoning him to “FEED ME!!!”
Speaking of hungry herbage, Sarah Johansen, who voices the carnivorous Audrey II, does wonders with the part, taking the reigns from the likes of Levi Stubbs and Ron Taylor, to create a new view of the villainous vegetable. With strong singing ability and a booming voice, Johansen sows the seeds (pun intended) for future actresses to play the historically male role, leaving the audience cheering for more (though probably out of fear that they’ll be the next entrée)! In short, Johansen is a mean green mother from outer space! You can keep The Thing, keep The It, keep The Creature, they don’t mean spit next to Sarah Johansen’s Audrey II!
Along with Johansen’s harrowing vocals, the puppeteering team behind the vicious verdure animates the character in such a way that the audience is constantly looking to see what Audrey II will do next. The six-person team consisting of Erik Binnix, James Reed Estepp, Daniel Wade, Kestrel Watson, Robin Whewell, and the eerily appropriately named Penelope Green, bring the fearsome puppet to life with the motion of a true actor. Minus the occasional misplaced curtain, the audience easily forgets that they’re looking at a huge conglomeration of fabric, and easily suspends disbelief to see Audrey II as a real actor, and a true threat. With constant swaying, almost imperceptible movements, and hysterical reactions, Audrey II surges forth with horrifying skill thanks to the incredible talents of the team. One of the team’s greatest moments comes just before the intermission, when Audrey II laughs menacingly while chomping on a bit of large intestine hanging from its peckish pod.
Adam Conkin, Gavin Fernandez, and Anna Winslow, as well as several members of the puppeteering team, round out the cast as the various ensemble roles. As the various inhabitants of Skid Row, including winos, customers, and investors, as well as the prologue and radio announcers, the ensemble does well to set the scene. One wino in particular entered about 15 minutes before curtain, leaving the audience to wonder if he was part of the show, or just someone who had walked in off the street and collapsed with his bottle on the stage.
A new view on the cult classic, Ashman and Menkin’s “Little Shop of Horrors” plays at Anne Arundel Community College until April 21.
Little Shop of Horrors plays April 12th through April 24th 2024 with Anne Arundel Community College Theatre in the Robert E. Kauffman Theater in the Pascal Center for Performing Arts on the AACC main campus— 101 College Parkway in Arnold, MD. Tickets are available at the door or in advance online.
To read the interview with Ally Baca, Sarah Johansen, and Ethan Keller, click here.
