Little Shop of Horrors continues at the Storyhouse Theatre, Chester – until 2 June 2019.
Star rating: five stars ★ ★ ★ ★ ★
Much of the charm of Howard Ashman and Alan Menken’s Little Shop of Horrors is in its small-scale cast and orchestration. Stephen Mear, who has directed and choreographed this new production for Chester’s Storyhouse Theatre, has really capitalised on the innate intimacy of the show, and presents it on the 500-seat thrust stage configuration of this adaptable auditorium.
Musical director Alex Beetschen and his band can occasionally be glimpsed through the window of Mushnik’s Skid Row Florist, which forms the background to Jess Curtis’ gloriously detailed 1950s set. Outstanding sound design from Ben Harrison fills the space with their music, and perfectly balances with the voices, so that every syllable of Ashman’s witty lyrics is sharply defined. The opening company numbers ‘Little Shop of Horrors’ and ‘Skid Row (Downtown)’ really set the tone and pace for the entire show, which rattles along with immaculate timing.
Joshua Lay and Michelle Bishop are a great pairing as the downtrodden Seymour and his seemingly unattainable sweetheart Audrey. They are splendidly supported by Cindy Belliot, Emily-Mae and Tanisha Spring as the all-singing all-dancing trio of Chiffon, Ronette and Crystal. Tony Timberlake may present a shabby appearance as the cynical florist Mushnik, but there’s certainly nothing shabby about his performance. Meanwhile Stephane Anelli has enormous fun with his characterisation of Orin, the slick-haired, motorcycling demon dentist.
The entire ensemble has been skilfully cast and all deliver immaculate vocals along with their sharp dance moves. Of course, there are two performers who we don’t get to see until the curtain call… Ryan O’Gorman provides a persuasively velvet voice for the bloodthirsty Audrey II, and puppeteer Brett Shiels brings the uncontrollable pot plant vividly to life. Particularly impressive is the extraordinarily realistic lip-syncing that O’Gorman and Shiels achieve, making it hard not to believe it’s alive.
Curtis’ designs include an array of costumes that are perfectly in period, and her set reaches out into the auditorium in a cobweb of assorted wires and tendrils.
The story might well be kitsch schlock-horror, but with so much attention to detail it makes for a first-class evening’s entertainment that sends its audiences home wearing huge smiles.
Nigel Smith
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