“Little Shop of Horrors” Is A Delightful Marriott Lincolnshire Smash Hit Musical
I absolutely adore Little Shop of Horrors both the films and the stage musical. Live entertainment, however, always reigns supreme in my book. Marriott’s Lincolnshire has produced an entertaining, farcical, black comedy. It includes a sweet, naive, innocent romance, Jewish humor with hilarious Yiddish zingers, and grisly taboo subjects that will have you thoroughly engaged. Lorenzo Rush, Jr. is the perfect mellifluous voice behind Audrey II. His deep bass, commanding, powerful delivery, and greedy nature had the audience laughing out loud.
I am not, sadly, one of those film and television buffs who can quote iconic lines from media that everyone immediately recognizes. I admire the ability, but I do not have that particular talent. About the only lines I am familiar with from popular media are “Beam me up, Scotty” and “Feed me, Seymour/ Feed me all night long.” The latter line just slays me. Songs like “Suddenly Seymour” and the title song, “Little Shop of Horrors,” are still running through my mind long after seeing Marriott Lincolnshire’s hit show.
Music Director Ryan T. Nelson and the orchestra: Conductor/Keyboard-Mason Moss, Associate Conductor/Keyboard-Charlotte Rivard-Hoster, Acoustic and Electric Guitar-José Guzmán, Bass Guitar/Music Coordinator-Trevor Jones, Drums and Percussion-Andy Wilmoth have us toe tapping along with their flawless, dynamic performances. Tommy Rapley’s stellar direction and marvelous choreography add to the fun factor in this successful show. Lydia Burke as Crystal, Darryn Whitney Harrell as Ronnette, and Miciah Lathan as Chiffon all act as a Greek Chorus floating onstage, narrating the show while executing a fabulous impersonation of the vocal styles of their American girl namesake singing groups from the 1960s.
Little Shop of Horrors was inspired by a 1956 sci-fi short story by Arthur C. Clarke titled The Reluctant Orchid. The story is about a man who raises and uses a carnivorous, deadly orchid in an attempt to murder his browbeating, demeaning aunt. Screenwriter Charles B. Griffith adapted the story’s premise for the 1960s low-budget cult film classic Little Shop of Horrors. From there, lyricist Howard Ashman and composer Alan Menken brought this campy comedy to the stage with a doo-wop style, along with retro rock and roll singing. In 1986, British-born American puppeteer, film-maker, and actor Frank Oz directed a film adaptation of Little Shop of Horrors. This musical film adaptation gained humongous popularity through home video and cable airings. It featured well-known Hollywood comedy stars such as Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, Bill Murray, John Candy, Christopher Guest, and Jim Belushi.
Marriott’s polished, professional ensemble has so much charisma that we engage with the actors, totally. Our hearts are open even to Mr. Mushnik, the frustrated Skid Row, down on his luck, florist, expertly portrayed by Mark David Kaplan. Even Audrey’s sadistic, evil dentist boyfriend, Orin Scrivello, played by Andrew Mueller, earns our attention. He loves to inflict pain, which elicits loud guffaws from the audience. Mueller adeptly handles quite a few roles. Maya Rowe as Audrey, the florist arranger, has just the right voice and look of a blonde-bombshell dame. She is beyond sweet but beaten down physically and emotionally by her abusive dentist boyfriend, Orin, and her Skid Row upbringing. We are rooting for her and the bumbling orphan Seymour, played by Jackson Evans, to become a romantic couple. Jackson rocks as Seymour. He entertains us with his physical comedy and sad sack deliveries. He has an enormous crush on Audrey and names the exotic plant he bought at a Chinese shop after an eclipse, Audrey II. The puppeteers Garrett Lutz, Jordan Anthony Arrendo, and Ed Kross do an amazing job handling the various Audrey II puppets. Audrey II, the plant, comes alive on stage.
Amanda Vander Byl’s prowess as a costume designer is impressive. Her glitzy outfitting of Crystal, Ronnette, and Chiffon was divine. I loved how she dressed Audrey in her many looks. Orin, of course, is in the bad-boy leather jacket. The way she has the puppeteers costumed as plants makes them almost disappear beside Audrey II. Puppet Design by Jesse Mooney-Bullock was astonishing. Audrey II, in every size phase from small potted plant to humongous creature, still had beautiful, mesmerizing colors, yet terrifying teeth. Jesse Klug’s lighting was magical, even the times that the stage was blacked out. Ivy Thomas Properties Designs were spot on. Miguel Armstrong’s wig and Make-up design fit the characters and time period superbly.
Audiences who are expecting the 1986 film ending are in for an unexpected, surprise horror twist. Marriott Lincolnshire promises, “Every audience member, both old and new, will leave the Lincolnshire venue with their sides aching from laughter and a sound warning to take with them: Don’t Feed The Plants!”
