South Coast Repertory introduced their rendition of the 1982 musical theater classic “Little Shop of Horrors” on Sept. 27. Director Jenn Thompson sprinkled her own artistic touch on the beloved production, showcasing the heavy themes of greed, success and belonging held within the musical numbers.
Originally a 1960 B-movie, “Little Shop of Horrors” was created and directed by Roger Corman as a satirical horror comedy that surrounded the growth of the innocent and sweet Seymour. Seymour is swayed by society’s most brutal forces, such as greed, murder, capitalism and heartbreak.
Since the original movie was low-budget with its special effects – limited to puppeteering and voice acting – the special effects were all very doable for the live stage. As the practical effects from the movie translate the same in the musical play, the story’s themes also translate well. The story frames the misfortunes that come with fame, success and love, dramatized through the performance’s songs and comedy.
Thompson’s rendition of the musical theater production perfectly replicates that of the film. Serving the original musical theater production justice, Thompson was able to convey such messages through her genius selection of cast and her direction to emphasize the themes through facial expression, gesture and comedic timing. Most of the play centered on comedy and play-on-words, but the depth of social values was also a huge takeaway from the experience of this production.
The vivid lighting, expressive choreography, tasteful mise en scène and notably talented actors were all recognizably driven by Thompson’s artistic intention and intricate execution.
The show-stopping number was the production’s famous duet “Suddenly, Seymour,” which was surely a tearjerker. The genuine tears gracefully pouring out of Audrey’s (Michelle Veintimilla) worrying eyes and Seymour’s (Emerson Boatwright) vibrato-filled vocal power weighed the story with more emotional depth and empathy for their characters.
Although Veintimilla was not the best vocalist for the role of Audrey, that was overtaken by her impeccable portrayal of Audrey’s complexity. Her voice displayed some strain and rasp throughout the show, as Audrey’s vocal numbers are challenging to sing. Yet she was one of the actors in this production who delivered the most emotion, swooning the crowd to empathetically utter scattered “awe’s,” “no’s” and “why’s.” The crowd felt for her character and all the mental and emotional trauma she was facing.
Boatwright’s performance as Seymour was breathtaking because of his undeniable talent. He delivered an A-grade performance in every aspect — vocals, acting and choreography. After every powerful performance of his character shifting from sweet dorky boy to bold and daring man, the crowd went wild for his newly adopted charms. Boatwright successfully went above and beyond to portray his character.
Big kudos go out to the 6-in-1 showstopper, Derek Manson. Manson played Orin, the rowdy dentist and Audrey’s sadistic boyfriend. Manson also played five other comedic side characters, popping in and out of scenes with killer comedic timing. Manson received delightful applause every time he effortlessly emerged as a new character. His talent was adored and recognized by the crowd.
A chorus of three “street urchins” replaced the two neighborhood girls in the original movie, consisting of Ronnette (Holly Jackson), Chiffon (Celeste Butler) and Crystal (Joslynn Cortes). They showed off the prestige of the musical and vocally demanding arrangements, kept the audience engaged and helped set the scene for watchers to follow.
The dynamic duo, Audrey II puppeteer (Joe Gallina) and Audrey II voice (Michael A. Shepperd), showcased what schlock B-movies were meant for: a ridiculously entertaining experience. Shepperd’s animated voice and tone were so snappy that every line cracked up the audience, and Gallina’s phenomenal puppeteering brought the bloodthirsty plant to life.
The grand finale of the flesh-eating plant was especially unforgettable, measuring approximately 10 feet high. It took up the whole stage, almost jumping out and viciously chomping at the audience as Gallina intricately worked the technicalities and Shepperd cried out villainous and terrifying laughs.
The beloved Mr. Mushnik (Geoffrey Wade) was also a fan favorite of the night. The audience responded with adoration and delight whenever he came on stage, as he was a father figure to Seymour. Wade performed an unforgettably comical musical number in which he proposed to Seymour that he’d become his father only because Seymour brought tons of money to his flower shop. His stiff tango and awkward performance made the audience cringe and laugh in pure joy.
Thompson’s portrayal of this story was a big hit in its opening night, receiving a five-minute-long standing ovation by the end of the play. Although her dark and raunchy humor was delightful, the amount of depth she put into the direction of her actors’ portrayals showcased her creative abilities to convey a message that speaks on the troubles of humanity.
In an interview with New University, the innovative director revealed what her trick was to achieve the portrayal of such deep messages.
“Just hire really good actors,” Thompson said. “I think the most challenging thing that’s always an issue with the show is the technical process. It takes a lot of time and a lot of people.”
The director hopes her production will leave the audience with a few takeaways.
“I hope they’re thinking they had a great time,” Thompson said. I think what’s great about this show, honestly, is that at first glance or first swallow, it’s just sort of pure entertainment. It’s so beautifully written and so satisfying. The music is great, and we’re blessed with a really great cast. But, there is actually more going on than just a good time. It’s about greed and sacrifice. It’s about not trusting yourself and that you’re a lot. It feels like not just a great dessert, but a meal.”
South Coast Repertory is known for its wholesome, artful productions, which emphasize the heart of the drama and theater community. There is a clear sense of joy shared within the theater company’s cast and crew.
“Without a doubt, we are nothing without people. It is about creating an inspiring place where people feel like they have no barriers to the work that we’re asking for,” Ivers said.
South Coast Repertory closed the curtains on their opening night of “Little Shop of Horrors” with a 10-foot-tall Venus flytrap monster towering over the applauding crowd. Future audiences can look forward to more dazzling shows until Oct. 19.
Cameryn Nguyen is an Arts & Entertainment Staff Writer. She can be reached at camerynn@uci.edu.
Edited by Alaina Retodo.