The hallmark of any great musical theatre production is when all its elements combine perfectly. From the actors on stage to the band, set design, lighting, sound, costumes, and, in this case, puppets, director Jeremy Webb has found that often elusive mix in the Neptune Theatre production of Little Shop of Horrors. The result is a bloody good time in a show that embraces its camp sensibilities.
Based on Roger Corman’s 1960 B-movie, Little Shop of Horrors tells the story of Seymour Krelborn, a lowly floral assistant at Mushnik’s Skid Row Florist, who discovers a mysterious plant during a sudden total eclipse of the sun. With a sinister appetite for human blood and an eventual plan to take over the world, Seymour’s subsequent fame and fortune turn him into a somewhat reluctant accomplice.
If the plot all sounds a little bizarre, it is, but it is what has helped build the show’s cult following over the years. And for good reason, especially here, where Webb and his company hold reality dangling on the precipice of the show’s absurdity.
While Bill Carr (Mr. Mushnik) and Owen Lee (the voice of Audrey II) may receive top billing and do tremendous work in this Neptune production, Hugh Ritchie as Seymour provides the star turn here.
With his compelling voice, a perfect balance of down-on-your-luck geek and angsty desire, and almost wild abandon in his dance numbers, Ritchie epitomizes this hapless man who sees Audrey II as his way out of Skid Row. His rousing Feed Me (Git It) will undoubtedly continue to bring down the house as it did on opening night. Showing off his range, his duet with Kirstin Howell (Audrey) in Suddenly, Seymour is contrastingly sweet and equally superb.
Howell is no slouch in the vocal department, either. Her heartfelt rendition of Somewhere That’s Green is a stunner. Behind her weary eyes lies a glimmer of hope, making her final moments poignant while continuing to embrace the show’s signature campiness.
Ryan Brown returns to the Neptune Stage in the enviable/unenviable role of Orin Scrivello, the “semi-sadist” who makes Audrey’s life a living hell. Brown revels in Scrivello’s persona, especially in the deliciously over-the-top Dentist! number.
The three street urchins, each named after a 1960s girl group, Kiwh Becke (Crystal), Thaydra Gray (Ronnette), and Reeny (Chiffon), do nice work as the show’s de facto Greek chorus.
And, of course, no Little Shop production would exist without the talent of its puppet makers and puppeteers. Stephane Gaudet and Jeff Schwager skillfully bring the demon plant to life on stage. Coupled with Lee’s booming and often menacing voice, the result is magical. The two also portray other minor characters alongside ensemble members Tama Martin and Katherine Norris.
Under Webb’s direction, there are rarely any breaks in the action, helping to propel the story with clarity through all the craziness of this ridiculous tale. It is all done with tongues firmly planted in cheeks by artists who fully embrace the vision onstage and off.
Rachel Forbes’s turntable set moves seamlessly from inside the florist shop to the gritty streets of Skid Row, which helps to keep the action moving. Jess Lewis lights everything in washes of realism and fantasy, and sound designer Aaron Collier ensures every note and word is crisp and clear. Kaelen MacDonald has fun with the costumes and choreographer Liliona Quarmyne does nice work despite the confines of the Neptune stage. Under the baton of Sarah Richardson, the small six-person band hidden in the bowels of the theatre is spot-on.
Despite its camp and overall silliness, Little Shop comes with some baggage and trigger warnings, especially around the relationship between Audrey and Scrivello. It’s easy to label it as a holdover from a different era from a musical that first appeared in 1982, but it cannot be ignored. To his credit, Webb downplays the humour that usually surrounds the abuse Audrey endures.
In our recent interview with director Webb, he remarked on the parallels between the flesh-eating plant with plans to take over the world and what is happening with a particular person south of the border. But more than that, it is a metaphor for the consequences of greed and the ever-increasing price of chasing fame.
But whether you take the time to delve into this musical’s big themes or not, Neptune Theatre’s Little Shop of Horrors will have you humming Alan Menken and Howard Ashman’s many catchy songs well into the night, even as you cast a wary eye at that fern growing in your living room.
Little Shop of Horrors with book and lyrics by Howard Ashman and music by Alan Menken. Directed by Jeremy Webb. On stage at Neptune Theatre’s Fountain Hall Stage Theatre’syle St, Halifax) until May 11, 2025. Visit neptunetheatre.com for tickets and information.