Little Shop of Horrors Delivers Plenty of Laughs at the Marriott Theatre
Few musicals manage to be simultaneously macabre, melodic, and sharply satirical, but "Little Shop of Horrors" pulls it all off with wicked precision.
With a book and lyrics by Howard Ashman and music by Alan Menken, the show — adapted from The Little Shop of Horrors — remains a masterclass in blending musical styles. It fuses 1960s doo-wop, Motown-inspired harmonies, and B-movie sci-fi into one fun, memorable evening of theater.
At its core, Little Shop of Horrors is a Faustian parable dressed in camp. Seymour, the meek floral assistant, rises to the top to become the hero of the story. Played by Jackson Evans, he is universal as an Everyman seduced by proximity to fame and possible fortune. His unrequited love, Audrey, played by Maya Rowe is kind of dingbat with a heart of gold. She is just adorable. Her solo song, “Somewhere That’s Green” is a quietly devastating portrait of domestic aspiration shaped by longing for something better than what she has.
The trio of female narrators operate as a Greek chorus highlighted through girl-group harmony keeps the storytelling effervescent and lively. Played by Lydia Burke as Crystal, Daryn Whitney Harrell as Ronnette and Miciah Lathan as Chiffon, the girls rotate through a variety of scenes and you can’t wait to see what they do next. Hats off to Andrew Mueller, of the Mueller acting dynasty, who plays the nasty dentist Orin and then lurks around the stage as other savory characters. He’s a hoot. Mark David Kaplan as the hapless Mr. Mushnik gets caught up in his desire to ride the wave of fame and fortune.
And then there is Audrey II — arguably one of musical theater’s most effective practical effects. The plant’s escalating physical size grows and grows, fed by human flesh and blood. Operated by three puppeteers and voiced by the extraordinary Lorenzo Rush Jr., the technical choreography required between puppeteers and performers is a feat of theatrical engineering.
Directed and choreographed by Tommy Rapley, he keeps the show running at a rapid-fire pace. Amanda Vander Byl has designed stellar costumes, especially the green, tree-dresses worn by the trio.
More than four decades after its Off-Broadway premiere, the musical remains remarkably relevant. In an age obsessed with viral fame and transactional success, Seymour’s bargain feels less fantastical than ever.
Little Shop of Horrors is not merely a cult favorite — it is a carefully constructed satire disguised as a camp romp. And that precision is what allows it to endure.
