LITTLE SHOP OF HORRORS
Performed at Stopsley High School - November 2004
It is one of the worst-kept secrets in the town that I am no fan of Little Shop of Horrors. That voracious man-eating plant is about as endearing to me as the saccharine Annie. Too many productions of that waif and her bloody dog finally dispatched a previous reviewer to the comforting embrace of an Ampthill funny farm.
Too many productions of Horrors could soon have me gibbering and screaming in the next bed. But as morphine is mercifully ministered, I shall tell all who listen to exempt CSYMT. I wish to praise Stuart Farrar; not bury him.
So what is it that this show had that previous incarnations lacked? Dunstable Rep had classy acting and Phoenix Players had simple sincerity. This young cast had touches of both but, with the exception of Lee Gauntlett’s amazingly deep-throated plant, you wouldn’t say they overwhelmed in the individual performance stakes.
What they did have, in abundance, was a collective style and inventive verve which captured the spirit of this musical’s original intentions. That elusive grand guignol zest and fun was beautifully realised.
The opening numbers got us off to a cracking start and Downtown, imaginatively-staged on the realistically brown Skid Row florists shop set, was a pure piece of magical musical theatre. Somewhere That’s Green, gave us a touch of well-acted singing from Megan Farrar’s ingenuous Audrey, and Seymour and shop owner’s Mushnik And Son, delivered exceptional musical choreography from all involved. And outside of the film, I have never seen Audrey II’s Feed Me performed with such power and humour.
If 'Little Shop of Horrors' has any charm, it is in the inadequate souls chasing an unlikely American dream. Tom Jennings crafted a pleasing portrayal of the socially challenged shop assistant Seymour and Miss Farrar complemented with a nicely naïve Audrey. If both slightly over-egged the gauche characterisations, both were engagingly believable.
Luke Storey was a crisp, middle-European shopkeeper, Dale Stacey almost likeable as the generally loathsome Orin, and Caroline Needham’s Ronnette stood out in a sharp and slick choral septet.
But the outstanding star of this show was its own production values. There are very few in Luton who can package shows like Stuart Farrar. Time and again he takes the most unpromising material and serves up a wonderful evening of theatre.
And with the help of Simon Tabert and Sarah Farrar’s superb musical accompaniment, Gareth Lloyd’s inspired percussion, and Lynda Haxell’s gloriously inventive choreography, the young company turned in a resounding hit.
I still think Howard Ashman and Alan Menken’s Horrors stinks. But as Lee Gauntlett stepped out of his plant to rock us in the aisles with a rip-roaring finale, I doffed my theatrical cap.
The Colin Smith Youth Musical Theatre captured Horrors’ essential spirit, bottled it, and poured it out with aplomb that has eluded others. I may go to that funny farm yet, but, thanks to Mr Farrar, I may go there happy.
Roy Hall