Some musicals feel fresh and new no matter how many times you see them. The excitement of seeing what a different theater, director, designer, and actor may do with a favorite piece is palpable for our favorite musicals. This is the case for Alan Menken and Howard Ashman’s Little Shop of Horrors, a wacky and creepy sci-fi tale of the lengths some will go to when they’re desperate enough to escape their disappointing lives wrapped up in a colorful, fun, and impeccable book with catchy songs and truly loveable characters. Little Shop is the perfect mix of comedy, horror, camp, and romance all rolled into one. Parkland Theatre’s production, which opened on April 11 to an almost sold-out house, captures nearly all these elements while leaning into a fresh take to create an altogether delightful production of this nearly perfect musical.
Little Shop of Horrors originated as a low budget film in in 1960, before being adapted by Menken and Ashman in a 1982 Off-Broadway production that spawned the beloved film adaptation starring Rick Moranis, Ellen Greene, and Steve Martin. Set in New York in the 1960s, the plot centers on Seymour Krelbourn (Russell Zillman, Jr.), a meek and loveable florist working in a struggling flower shop in Skid Row. Yearning for a better life and pining for his co-worker, Audrey (Rachel Gladd), Seymour discovers a mysterious plant during a total solar eclipse. This peculiar discovery, eventually named Audrey II (Adrian Rochelle), possesses an unexpected talent for attracting customers. With the help of a sassy Greek chorus of “urchins” (Ciobhan Dunn, Kiah Johnson, Excellence Onalundala, and Kaila Simpson), Seymour grapples with the success and the strange demands of his newfound pride and joy.
Director Michael O’Brien brings this story to life in a way that will likely be new to audiences who are familiar with the piece while still resonating with those experiencing it for the first time. While the elements of camp cannot be divorced from the script, O’Brien takes a more humanizing approach to these characters. This isn’t kitchen sink realism, which would be out of place. Still, O’Brien has peeled away the surface layers of irreverence in a bold attempt to raise the stakes of the story. There are moments where it doesn’t always work, and the irreverence is missed. When it does work, it does so beautifully.
Whitney Havice’s energetic choreography equally matches O’Brien’s dynamic staging, working harmoniously, especially when incorporating the puppeteers bringing Audrey II to life. In this piece, this bloodthirsty behemoth of a plant plotting to take over the world must feel real for the show to work. While many productions accomplish this by keeping the actor and puppeteers behind the villain hidden from view, O’Brien has brought these integral performers centerstage. Maya Baker, Mahal Childress, Max Deremiah, and Allison Wiltgen are breathing life into each phase of Audrey II’s growth with precision and character, rounded out by Rochelle’s powerful vocals, musicality, and delightfully evil laughter.
Zillman’s Seymour is adroitly sheepish and clumsy. He clearly understands physical comedy, capturing the audience’s adoration from the moment he trips and falls at his first entrance. As the overbearing, nebbish shop owner, Dylan Holt performs Mr. Mushnik to near perfection. Rachel Gladd’s Audrey is the antithesis of Ellen Greene. This character, as written, is sometimes criticized for the problematic way it portrays women. But Gladd gives a more honest portrayal of Audrey, shying away from a caricature, finding the heart in the role, and earnestly sharing it with us. Jess Schlipf is perfectly cast as Orin Scrivello, D.D.S. (and, as is tradition, a variety of other walk-ons). Audiences who know Schlipf from their drag persona, Spank Knightly, will revel in the delight at this performer’s talents so brilliantly channeled into this role that quite literally wears many hats. The “urchins” have grown by one in this production and are altogether charming. Johnson and Simpson give exceptional vocal performances, eliciting several mid-song audience reactions for their impressive power and vocal riffs.
Parkland staple Cheryl Forest Morganson leads a small onstage ensemble from the keyboard, expertly tearing through R&B and doo-wop piano licks while conducting nine musicians and cueing the actors. Watching Morganson in her element is always a treat, and the ensemble adeptly navigates the varied musical styles that comprise the score with few stumbles.
The production elements are among the best of Parkland’s season. Scenic designer Molly Ilten Fullan “upcycled” the revolving stage, constructed for the February production of Rosencrantz & Guildenstern Are Dead, creating fluid transitions between scenes as we move from the streets of Skid Row to the store’s interior. The puppets fashioned for this production are beautifully crafted and allow the performers the freedom to play. Sheri Doyle brings the 1960s to life with her colorful costume designs, and Michael Steen’s wigs and make-up complete the aesthetic.
While some audiences may miss the satirical and campy aspects inherent in the script and score, no one will miss the story elements that make this piece loved by so many. If the opening night audience reaction is any indication, this eager ensemble is poised for a run that will continue to be met with laughter and raucous applause. (A note for parents: this production is rated “Teen” for adult language and adult content.)
Little Shop of Horrors
Harold and Jean Miner Theatre
Parkland College
2400 W Bradley Ave
Champaign
April 11-28
Tickets $18 to $25