Expert puppetry, exuberant performances, and inspired scenic design drive the infectious vintage charm of Little Shop of Horrors, Pittsburgh Public Theater’s (PPT) darkly comic musical offering that runs through February 23 at the O’Reilly Theatre.
A quirky plant bent on world domination reminds us to beware of errant branches to avoid great disaster. Here, the temptation of fame and fortune fuels the urge to feed a controlling and popular presence. When Seymour, the central character, wrestles with his better angels, the most ruinous of human impulses win, and he ignores the law and the repercussions of hiding evidence. How oddly timely!
Both Little Shop devotees and anyone fascinated with the journey of American musical theater should add this unstoppable show to their must-see list. In her first musical production, PPT Artistic Director Marya Sea Kaminski dusts off a spunky chestnut and attends its most fertile tendrils with fresh direction while nodding to the classic moments.
Little Shop, with book and lyrics by Howard Ashman and music by the incomparable Alan Menken, is essentially a kitsch horror story set to music. Originally a 1960 film, Little Shop became an Off-Broadway production in 1982. The film version came next (with a different ending, please note!), and the show finally hit Broadway in 2003. In between, Little Shop journeyed through many companies up for the challenge of creating “the Plant”–Audrey II, that is, the blood-thirsty creation that starts out as an odd potted puppet, but soon blooms into a giant monster who talks, sings, and cries “Feed Me!”
Seymour (Philippe Arroyo) levels with Audrey II
The story revolves around Seymour, a nerdy flower shop employee, anguished to be stuck in the Bowery where flowers wither and the worst of times seem to endlessly rock on. He applies his penchant for exotic blooms to nurse “a strange and unusual plant” and names it after Audrey, his co-worker crush. While Audrey dates Orin, a bully and sadistic dentist, Audrey II begins to display an appetite for human blood. With some help from Seymour’s finger pricks she grows, but craves more. As Audrey II draws media attention and fans, a scary chain of events plays against an entertaining and upbeat Motown and doo-wop inspired score.
PPT rises admirably to the artistic challenges, meeting each with refreshing vigor. Scenic Designer Tim Mackabee’s set fills the upstage with a realistic lower Manhattan (Skid Row in the Bowery, to be specific) street. The four-story streetscape becomes the drop for versatile projection by Bryce Cutler,
supporting the fast moving scene transitions and action, as does Mushnik’s cozy, retractable flower shop.
Kaminski takes advantage ably of many stairs and catwalks to bring the action close to audience members seated at all levels. Her Little Shop is even more intimate and engaging–a refreshing approach in the steep O’Reilly house.
Song-loaded and energetically-paced, the show is driven by an outstanding cast of nine that delivers the story with conviction. Fresh and charming characterizations showcase solid acting and strong vocal talent.
A street smart trio of street urchins set up the plot with the title song then connect the action as a sort of Greek chorus. And they sing on almost half of the show’s 20 vocal pieces, leading the company in the effervescent “Downtown (Skid Row)” as the scene is set. Tavia Rivee as Crystal, Meleisse
(L to R) Melessie Clark, Abigail Stephenson and Tavia Riveé belt it out at Skid Row
Clark as Ronnette, and Abigail Stephenson as Chiffon deliver soaring harmonies and sassy moves, eventually transforming into downtown Dreamgirls and efficient botanists.
Leading the ensemble as an endearingly drawn Seymour is Phillipe Arroyo, a Carnegie Mellon alumnus, in his PPT debut. As Audrey, Lauren Marcus knocks her signature number “Somewhere that’s Green” out of the park. Together, their moving “Suddenly Seymour” is staged high on the central catwalk, becoming the downtown equivalent of West Side Story’s “Tonight”. Arroyo and Marcus establish a sweet chemistry through performances that are reason enough to catch this show–especially if you have seen it before.
Seymour (Arroyo) swoons with Audrey (Lauren Marcus)
However, the deft performances of the other cast members seal the deal. Patrick Cannon shines in multiple roles, first stepping out as the sadistic dentist Orin. Superbly creepy, Cannon delivers the moves that make his main number with the trio, “Be a Dentist”, an unforgettable delight. He then reappears as five other characters to the delight of the audience.
Marc Moritz is the steadfast floral shop owner Mr. Mushnik who takes Seymour under his wing as an employee, and then adopts him. Steady and honest, Mushnik is a fair and sympathetic boss–concerned when Audrey arrives to work with a black eye. Moritz, in his PPT debut, again gives Pittsburgh another wonderful performance.
But the central driving force of this horrific tale is a lovable but villainous plant, Audrey II, designed in all her incarnations by Cameron McEacheran. J. Alex Noble is the actor-puppeteer who gives Audrey II movement as she grows. Monteze Freeland is the voice of Audrey II, serving up a range of emotions, songs, and cries for more food. His “Feed Me” with Seymour is a highlight of the show as the plant’s insatiable and gruesome appetite accelerates. Their combined artistry gives Audrey II enhanced characterization.
Movement and dance staging is spot-on by Choreographer Trina Mills who provides some terrific stunts and steps. It would indeed be fun to see this cast cut loose with a full blown dance number, as the talent is present.
Musical direction by John McDaniel incorporates the seven-piece orchestra that rocks from the O’Reilly’s lower level pit. Catie Brown, associate music director, conducts from the keyboard with some of the city’s top instrumentalists comprising the band: Ben Brosche (keyboard II), Sam Eisenreich (reeds), R.J. Heid (percussion), Ken Karsh (guitar, mandolin) Jeff T. Mangone, Sr. (bass), and David Wingenbach (brass).
Costumes by Susan Tsu conjures styles evocative of many eras that imbue this Little Shop with even more timeless allure. It’s perfect that we barely notice Robert Aguilar’s top notch lighting as he slyly manages to keep our attention in the best spots. Sound by Zach Moore aptly balances vocals with the live orchestra.
Audrey (Marcus) and Orin (Patrick Cannon)
Little Shop of Horrors is a fun but terrifying fantasy that merits its PG-13 rating for some sexual innuendo and inferred instances of dating violence–not to mention some merry murder. Perhaps the fact that Audrey is victim of Orin’s abuse should be more acknowledged. One might argue that the historical context of this show’s creation places it in a time when such violence might still have been fodder for jokes. Not so much these days. Let’s face it: Audience members might have little sympathy when Orin “disappears” with some help from Seymour.
As Kaminski says, “Little Shop resonates with the bigger question of what it’s like to be hungry, and tells the story of the monstrous lengths we’ll go to in order to get what we most crave.”
Little Shop of Horrors runs through February 23 at the O’Reilly Theater. For tickets, call 412.316.1600 or visit ppt.org.
Photography Credit: Michael Henninger
Yvonne Hudson, a Pittsburgh-based writer, publicist, actor, and singer, joined PITR as a writer and adviser in February 2016. She began performing and writing during high school in Indiana, PA. The Point Park journalism grad credits her Globe editor for first assigning her to review a play. Yvonne is grateful to Dr. Attilio Favorini for master’s studies at Pitt Theatre Arts, work at Three Rivers Shakespeare Festival, and believing in her Shakespearean journey. When not working with nonprofits, this lifelong chorister sings with Calvary UM Church’s annual Messiah choir. Having played Juliet’s Nurse for Pittsburgh Shakespeare in the Parks, Yvonne is now seen in her solo shows, Mrs Shakespeare and Emily Dickinson: The Poet Lights the Lamp. Goals: See all of Shakespeare’s plays in production and memorize more Sonnets. Fave quotes: “Good deed in a naughty world,” “Attention must be paid,” and “A handbag?” Twitter @msshakespeare Facebook: PoetsCornerPittsburgh LinkedIn
Categories: Archived Reviews