Little Shop of Horrors has a fascinating history. First staged off-off-Broadway in 1982, it began as an inventive retelling of a low-budget 1960 horror film. With music by Alan Menken and lyrics by Howard Ashman, the show is a masterclass in fusing dark comedy with catchy, genre-spanning music. It quickly gained a cult following, thanks to its sharp humour, memorable characters, and distinctive score, blending doo-wop, Motown, and rock ‘n’ roll. By 1983, it had moved to off-Broadway, where it thrived for five years, earning critical acclaim and several awards. Its success paved the way for the now-iconic 1986 film adaptation, further cementing its status as a beloved staple of musical theatre.
At its heart, Little Shop of Horrors is more than just catchy tunes and outrageous comedy—it’s a cautionary tale about ambition, morality, and desperation. Seymour Krelborn’s journey from a shy botanist to a morally compromised antihero explores the consequences of unchecked greed. Set against the backdrop of Skid Row, the story also critiques consumerism and the harsh realities of poverty, with Audrey II representing both literal and figurative greed. Yet, it is the darker personal themes, such as Audrey’s abusive relationship with Orin, that add weight to the humour, giving the show its lasting emotional resonance.
Camden Musical Society’s production confronted these layered themes with sensitivity and focus, crafting a performance that felt deeply connected to its source material while carving out its own identity. The venue, a humble community hall, was transformed into the despairing streets of Skid Row. The set design was clever and immersive, featuring a rotating flower shop that seamlessly shifted between locations. The ensemble played a crucial role in building this world, seated around an off-stage ghetto-like encampment that extended the stage beyond its traditional bounds. This encampment created a striking visual tableau, with the ensemble silently observing—or perhaps bearing witness to—the unfolding drama. Their presence, unbroken by the action, added a haunting undercurrent to the production, a reminder of the inescapable despair that permeates the lives of the characters. Whether shifting slightly to react to a pivotal moment or simply sitting in stillness, the ensemble’s understated but powerful performances heightened the sense of entrapment that defines Skid Row, making the setting feel not just like a backdrop but a living, breathing entity within the story.
Zach Moses anchored the production with his portrayal of Seymour Krelborn, delivering a performance that was both complex and compelling. From his initial portrayal of Seymour’s awkwardness and shy optimism, Moses created an instantly relatable character whose longing for a better life resonated deeply with the audience. His subtle shifts in posture, expression, and tone mirrored Seymour’s gradual transformation as the pressures of love, fame, and guilt began to weigh on him. Moses masterfully navigated the extremes of the role, bringing humour and charm to Seymour’s early interactions with Audrey and Mr Mushnick, while delving into the darker, more conflicted aspects of the character as he became ensnared by Audrey II’s sinister demands. His vocal performance, particularly in numbers like "Grow for Me" and "Suddenly, Seymour," was both powerful and emotive, using each lyric to deepen the audience’s connection to Seymour’s internal struggle. Even as Seymour’s decisions grew increasingly questionable, Moses retained a vulnerability that allowed the audience to empathise with his plight, making his descent into moral compromise feel organic and tragic. This delicate balance of charm, humour, and pathos ensured Moses was not only the emotional core of the production but also a captivating presence whose performance lingered well beyond the final curtain.
Equally captivating was Emily Boardman as Audrey, who delivered a performance filled with warmth, heartbreak, and resilience. Boardman’s nuanced portrayal highlighted Audrey’s fragility without reducing her to a victim, capturing her dreams of a better life alongside the painful realities of her relationship with Orin Scrivello making Audrey both endearing and deeply sympathetic. Her comedic timing brought levity to the role, yet she handled the show’s heavier moments, particularly in "Somewhere That’s Green," with unflinching sincerity. In her duets with Moses, especially "Suddenly, Seymour," the pair’s chemistry added layers of emotional depth, making these scenes unforgettable. Boardman’s ability to balance humour, heartbreak, and strength ensured Audrey’s story was both central to the production and deeply moving.
Kane Hudson gave a standout performance as Mr Mushnick, Seymour’s miserly and morally ambiguous employer, bringing a rich complexity to a role that could easily lean into caricature. Hudson skilfully portrayed Mr Mushnick’s duality, alternating between a gruff, self-serving businessman and a figure who, at times, displayed reluctant affection and even a hint of paternal care for Seymour. This nuanced approach made the character feel grounded and believable, as Hudson captured both the humour and the pathos inherent in Mr Mushnick’s plight. His interactions with Zach Moses added tension and layers to the story, especially in scenes where the character’s desperation to secure his shop’s survival clashed with Seymour’s growing moral conflict.
Bringing Audrey II to life is no small feat, and Camden Musical Society’s production showcased both exceptional technical skill and creative artistry in achieving it. Alfie Walker’s vocal performance imbued the plant with a chilling charisma, effortlessly swinging between humour and menace. However, Audrey II’s impact extended far beyond the voice; the puppetry work from Andrea Han, Katarina Arnautovic and Ellie Katrib was a standout element of the production. Each stage of the plant’s growth was meticulously executed, from the subtle, almost lifelike movements of its smaller incarnations to the commanding, larger-than-life presence of its final form. Synchronising Walker’s vocal delivery with the intricate physical manipulation of the puppet required precision and coordination, and the result was a creature that felt both terrifyingly alive and utterly captivating. This fusion of performance and technical prowess perfectly captured the dark, absurd spirit of Little Shop of Horrors, making Audrey II a highlight of the show.
Corey Harvey’s portrayal of Orin Scrivello, the sadistic dentist, was a show-stealing mix of dark humour and unsettling energy. Harvey embraced the absurdity of the character’s exaggerated bravado, delivering a performance that was both hilariously over-the-top and genuinely unnerving. His physicality and expressive mannerisms made Orin’s scenes uncomfortably captivating, drawing both laughs and gasps from the audience.
The supporting cast and ensemble were vital to the success of this production, delivering performances that enriched the story and brought Skid Row to life. Bianca Annetts, Hayleigh Burman, and Tiana Giampaolo, as the Street Urchins, played a pivotal role as a Greek chorus, guiding the audience through the twists and turns of the narrative. Their razor-sharp harmonies and vibrant stage presence made them impossible to ignore, with each musical number they performed adding energy and momentum to the show. Whether delivering witty one-liners or injecting soulful power into their songs, they expertly combined vocal precision with strong character work, keeping the audience engaged from start to finish.
Beyond the Urchins, the ensemble as a whole demonstrated exceptional dedication, even when not at the centre of the action. Their constant presence in the ghetto-like encampment to the side of the stage was more than just extended set dressing, adding depth and authenticity to the world of Skid Row, and a visual reminder of the desperation that defined the lives of its residents. Each ensemble member maintained their character, contributing to the overall atmosphere and ensuring that no moment onstage felt static. Their movements, expressions, and interactions—subtle though they often were—wove an additional layer of storytelling into the production. This commitment to detail made the ensemble not just a background element but a vital part of the show’s immersive quality. Through their collective efforts, they grounded the production in a shared world of struggle and survival, enhancing the performances of the leads and amplifying the emotional weight of the story.
The production excelled in balancing its contrasting tones. While the show’s humour had the audience laughing out loud, its darker moments landed with equal impact. A particularly gruesome scene viewed through the flower shop’s window was a masterstroke of staging—both chilling and inventive, managing to avoid cheap shock value while maintaining an unsettling edge.
Musical Director Kerrie Jiear led a superb five-piece band that adapted effortlessly to the show’s eclectic score. From soulful ballads to upbeat rock numbers, the music was polished and dynamic, serving as a powerful backbone for the production. Minor microphone issues surfaced during the performance but were managed with professionalism, keeping the audience immersed in the story. A minor incident involving a chair in the audience was also handled with impressive composure by both the individual involved and the front-of-house team, demonstrating their dedication to a positive theatre experience.
Director Bree-Anna Linsley, Assistant Musical Director Kayla Hall, and Vocal Coach Michael Jiear deserve immense credit for their leadership and vision. The seamless scene transitions, tight pacing, and consistent performances across the cast reflected a team that had worked cohesively to bring this production to life. Behind the scenes, the stage crew’s efficiency, led by Jessica Czender and Jasper Browne ensured a flawless flow, while the front-of-house team’s welcoming energy set the tone for the evening. The thoughtful costume designs of Paula Bonaccorso perfectly reflected the gritty, downtrodden reality of the characters, with muted tones and worn textures adding authenticity to their struggles. From the Street Urchins’ striking period-inspired outfits to Audrey’s iconic, slightly over-the-top looks that hinted at her dreams of glamour, each costume added depth to the characters and their stories.
Camden Musical Society’s Little Shop of Horrors was a compelling example of what community theatre can achieve. With its sharp focus on storytelling, memorable performances, and creative staging, this production left the audience thoroughly entertained and reflective. It was a reminder that even in the darkest of tales, there is room for wit, heart, and humanity.
Photos courtesy of Frances Holt
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