Little Shop of Horrors – Octagon Theatre, Bolton and Touring

Laura Jane Matthewson and Oliver Mawdsley in Little Shop of Horrors at the Octagon Theatre, Bolton and Touring. Picture: Pamela Raith Photography

Little Shop of Horrors was reviewed at the Octagon Theatre, Bolton, where it runs until 18 May 2024, and then tours until 22 June 2024 (Hull Truck Theatre: 22 May-8 June and Theatre Royal Windsor: 18-22 June).

Star rating: four stars ★ ★ ★ ★ ✩

The botanical marvel that is Audrey II has proved to be a hardy perennial since first appearing some 42 years ago in Howard Ashman and Alan Menken’s stage version of Roger Corman’s 1960s schlock-horror flick, Little Shop of Horrors. Bolton Octagon’s artistic director Lotte Wakeham now brings the show to her home turf in a co-production with New Wolsey Ipswich, Theatre by the Lake in Keswick and Hull Truck Theatre.

One of Ashman and Menken’s earliest collaborations, the show contains a great collection of rock ‘n’ roll-themed songs that immediately immerse us in the period, and beautifully detailed set and costume designs by TK Hay complete the atmosphere. The music spills over from the band atop the set, down the fire escapes and onto the pavements of Skid Row, where the trio of Chiffon, Crystal and Ronette (played by Janna May, Zweyla Mitchell dos Santos and Chardai Shaw provide both vocal and instrumental accompaniment as well as some of the big numbers, surrounded by dustbins and discarded shopping trolleys.

Everything about this production is larger than life, beginning with Andrew Whitehead’s blustering, rubicund florist Mr Mushnik; all ill-fitting suit and Brilliantined comb-over. His long-suffering employees Seymour and Audrey are both given witty and well-rounded characterisations by Oliver Mawdsley and Laura Jane Matthewson, who have the opportunity to demonstrate some impressively powerful and nuanced vocals in solos such as ‘Somewhere That’s Green’ and ‘Sudden Changes’ and their duet ‘Call Back in the Morning’.

Meanwhile, Matthew Ganley delivers the role of the crazed dentist Orin with more relish than seems humanly feasible. Is it possible to go over the top with this maniacal character? Probably not, but Ganley gives it a good try. From salivating over his rusty dentist’s drill and taking frequent puffs from a (simulated) canister of nitrous oxide, to giving Audrey one of the roundest stage slaps in the face that I have seen in a good while, this guy is evil to the core, but very funny with it. He could easily steal the show if it weren’t for one rather greener and less ambulant member of the cast.

The big star that everyone waits for in Little Shop of Horrors is of course Audrey II, the mutant venus flytrap that bays for blood and holds Seymour to ransom. Performed as usual by two cast members who only reveal themselves in the walkdown finale, here Matthew Heywood is the puppeteer who operates a series of successively larger incarnations of the voracious vegetable, and the velvet-toned Anton Stephans provides the mellifluous voice, while the puppet itself resembles an overgrown and eyeless Kermit the Frog.

While some productions (such as that given by Storyhouse in 2019) go for a more family-friendly feel, Wakeham here goes for broke, with an up-tempo, and no-holds-barred approach. There’s no skimping on the language and occasional violence and substance abuse from some of the characters and, while it may be dangerous to wade into the ongoing trigger warning debate, there is possibly a case for a few parental guidance notes on content. Given that this musical is frequently performed by school groups it could easily be mistaken for a children’s show, while in this sort of performance it is maybe borderline inappropriate for very young children.

All in all, this is a treat both visually and musically, with a great cast and tremendous energy that never lets up right through to the pulsing finale, and there is no doubt that it leaves its audience smiling and largely on their feet for the ovation.

Nigel Smith