Putting the “Class” In Cult Classic
Entertainment labelled a “cult classic” often earns that status for good reason, and Northern Stage and Derby Theatre’s fresh actor-musician revival of Little Shop of Horrors proves exactly why. Plenty of letters could be removed from the production’s tagline, because this revival is simply “class”.
For anyone unfamiliar with the musical or the 1986 film adaptation, Little Shop of Horrors follows the story of a struggling florist on Skid Row. When employee Seymour purchases a never-before-seen plant after a “total eclipse of the sun”, the shop suddenly finds success, though at a beastly cost. What unfolds can only really be described as horrors within a very little shop.
It is an undeniably tricky musical to pull off. A strong production requires far more than flashy lighting and colourful costumes, though both are excellent here. The relatively small cast, isolated setting and essential puppetry make the show uniquely demanding. Under the direction of Sarah Brigham, however, the musical feels as alive as the monstrous plant at its centre.
Every member of the cast and band, some of whom overlap, fits naturally into their role. Vocals are consistently impressive throughout, particularly from Kristian Cunningham as Seymour and Amena El-Kindy as Audrey, both perfectly suited to the parts and given plenty of opportunity to showcase their voices. “Suddenly Seymour”, unsurprisingly one of the show’s most beloved songs, stands out as a highlight and opens Act Two strongly.
Further praise belongs to Ronette, Crystal and Chiffon, played with commanding presence by Emmanuella Chede, Shekinah Mcfarlane and Chioma Uma. Acting as musical narrators while also playing instruments, they bring huge energy to the production, though the actor-musicianship element occasionally feels underused beyond their contributions. David Rankine regularly plays guitar as Orin the Dentist, but the two elements rarely overlap in a meaningful way. Even so, Rankine delivers one of the production’s most memorable performances. The role naturally carries scene-stealing potential, and here it frequently succeeds. Jon Bonner also provides a grounded and controlled Mr Mushnik, offering balance amid the show’s deliciously camp surroundings.
Puppetry, of course, is crucial, and Audrey II is realised brilliantly. Tasha Dowo supplies powerhouse vocals while Ross Lennon gives the creature genuine menace through expert puppetry. The puppet itself, growing steadily throughout the production, is top-class, and by the final moments genuinely feels capable of taking over the world.
Design is ultimately what allows this revival to stand out. With an almost Dr Seuss-esque set, vibrant and effective lighting, and inventive “creative captions”, the musical is brought vividly to life. The electric colour palette keeps audiences immersed within the isolated world of Skid Row. Because the setting remains largely fixed, symbolic consistency is essential, and this production handles that well. At times, however, the static environment requires more inventive choreography and blocking to maintain momentum. While the absence of extravagant dance numbers is no issue, certain songs begin to feel visually repetitive. One brief section of broom choreography during “Closed for Renovation” hints at something more dynamic and leaves a sense that further movement could have added even more bite.
Still, these shortcomings are little more than a leaf on a mammoth plant. This revival is absolutely not one to miss and is, without doubt, “Bigger than Hula-Hoops”.
Little Shop of Horrors runs at Northern Stage until Saturday 23rd May, with tickets available here.