Grappling with dire moral quandaries is a standard theatrical theme, but few works poise the dilemma as memorably as Little Shop of Horrors. Though the musical’s central temptations of fame and fortune are hardly unique, Little Shop of Horror remains notable for pitching such enticements from a gigantic man-eating plant (with a passion for singing). Lest there be any doubt, the work is unabashedly ludicrous, a knowingly absurd musical that derives endless mirth from unhinged eccentricity. Honoring that spirit of brazen bizarreness, Mu Performing Arts has launched an adaptation of Little Shop of Horrors at the Ritz Theater that thrives on quirkily macabre humor.
Inspired by cult auteur Roger Corman’s 1960 film, Little Shop of Horrors was re-conceptualized in 1982 as an unlikely musical by composer Alan Menken and writer Howard Ashman. In the decades since, the story of Seymour Krelborn, a hapless young florist in a Skid Row flower shop and Audrey II, the botanical oddity lovingly named after Seymour’s coworker/romantic fantasy, has become an enduringly odd musical staple. Frustrated by the Audrey II’s refusal to grow, Seymour is on the brink of despair when a pricked finger yields an extraordinary reaction from the ravenous plant. But while feeding droplets of his own blood causes the plant grow, before long the meager supply fails to satisfy. Perhaps Audrey’s abusive boyfriend, the sadistic dentist Orin Scrivello DDS, can fulfill the plant’s ghoulish craving…
Dedicated to presenting work from an Asian American cultural perspective, Mu Performing Arts doesn’t initially seem a likely fit for Little Shop of Horrors. The original work, after all, designated roles to very specific character types; from a bubbly blond as Audrey to the trio of corner singers modeled after the African American girl groups of the 1960s. By using an all Asian American cast, however, Mu Performing Arts has not only defied stereotypes, but shown that richly realized characterizations mean more than surface appearances.
Directed with energetic wit by Jennifer Weir and supported by the melodic verve of musical director Denise Prosek, Little Shop of Horrors adheres closely to the original production. The most conspicuous difference relates to the setting, freshly imagined through the foggy lens of steampunk, a science fiction subgenre that incorporates archaic technology into more contemporary (often incongruent) worlds. While the setting makes for an intriguing diversion, the work’s driving force remains the offbeat narrative and unexpectedly sympathetic characters.
Cast as Seymour, local favorite Randy Reyes delivers a comically rewarding, emotionally versatile performance. Reyes has said that the role of Seymour is one he has long coveted, a claim supported by the evident gusto in his dynamic performance. Though Reyes doesn’t shy away from the role’s bumbling pratfalls, he never makes a mockery of Seymour, respecting a pure heart behind some very bad decisions. And while Reyes demonstrates comic mastery, the most impressive facet of his performance may be his exceptionally evocative singing voice, imbuing such songs as “Grow for Me” with a genuine sense of longing.
As the woman of Seymour’s affections, Sara Ochs makes for a dazzling Audrey. Transforming the role of ditzy blonde, Ochs remakes Audrey without changing the essence of the character. Her defining sweetness is as loveable as her fragile vulnerability is heartbreaking. Both traits surge to the surface with a wonderfully expressive take on “Somewhere That’s Green” that showcases Ochs’ riveting vocal range. Even better is Ochs' duet with Reyes on “Suddenly, Seymour” in which long repressed romance is finally sent soaring.
Rather than relegating the role of Audrey II to a mechanized prop, this production has made an inspired choice in trusting the part to Sheena Jason. Lending the role a sultry sensuality, Jason portrays Audrey II as a leafy temptress, twisting the hapless Seymour around her vines, especially on the jazz infused, “Feed Me (Git It).” Jason’s performance is mirrored by the puppet design of Masanari Kawahara and further underscored by Megan Snyder and Kim Egan, two performers that mimic Audrey II’s movements and emotions. (A third member, Michael Sung-Ho, works the puppetry unseen.)
Of the remaining cast, Kurt Kwan is particularly striking in his depiction of Mr. Mushnik. As a character, the cantankerous shopkeeper doesn’t have much depth, but Kwan owns the role with palpable authority. Coupled with Reyes on the duet “Mushnik and Son,” the two performers fuse harmonious vocals with deft physicality to remake an oft overlooked number into a production highlight. Somewhat less successful, unfortunately, is Eric “Pogi” Sumangil’s portrayal of Orin Scrivello, DDS. Though a strong comic presence, Sumangil’s vocals on audience favorite “Dentist!” often felt hesitant, reining in what should have been one of the production’s most outlandish numbers. Conversely, the trio of Katie Bradley (as Ronette), Molly Pan (as Crystal), and Suzie Juul (as Chiffon) sail through the musical passages, but proved less successful in convincingly delivering the dialogue.
Assistant director and choreographer Maria Kelly must be given enormous credit for the show’s vivacious movements, especially on full company numbers like the showstopping “Skid Row (Downtown).” Aiding this fluidity is the scenic design of Joseph Stanley which utilizes wheeled set pieces to quickly shift scenes. And while the steampunk inspired setting contributes little to the work’s thematic context, the atmosphere is convincingly downtrodden, especially when combined with the era skewering costume design of Kathy Kohl.
Mu Performing Arts’ new adaptation of Little Shop of Horrors doesn’t attempt to radically alter the work. Instead, the production serves as a reminder that an exceptionally talented cast and crew – regardless of specific ethnicity - hold the power to transcend a work’s cultural assumptions. Seems like a lot to ask of a musical about a man-eating plant, but Mu Performing Arts achieves the task with a thoroughly entertaining mixture of lofty romance and ghoulish laughs.
Little Shop of Horrors runs at the Ritz Theater through April 3rd.
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