Little Shop of Horrors

Guest review by Aaron Weight, Director at Insert Laughter Here.

I should probably preface this review by saying that I have (somehow) never seen Little Shop of Horrors before. I knew a little bit about what to expect, thanks to references and pastiches over the years in various places - and surely everyone has heard that opening titular refrain somewhere; but for the most part the details of the show were all new to me.

So, on a dusky Tuesday evening I braved the football-addled roads of Ipswich to visit the New Wolsey Theatre and take care of that missing piece of the musical theatre canon with this sumptuous new production.

The atmosphere is immediately set upon walking into the auditorium - a mist shrouded vision of a particularly seedy area of New York, a flickering neon “FLORIST” sign, and a jaunty angled staging arrangement. With an appropriately in-character announcement to get us ready for the show and remind us that mobile phones didn’t exist in the 50s - always a nice touch - the lights dim and the music begins with aplomb.

Unfortunately, it seemed to me there was a bit of a misstep to start with - some combination of sound levels being off, or perhaps the performers not being quite ready to go, meant the opening song felt a little bit flat. Some of the lyrics were not quite discernible above the music itself, and indeed that happened often throughout the show. Fortunately, by the second song the show seemed to have found its energy…and boy did it all take off from there.

Making up a trio to guide us through the scenes, we are introduced to Janna May as Chiffon, Zweyla Mitchell dos Santos as Crystal, and Chardai Shaw as Ronnette - all doing marvellous work in keeping everything flowing nicely, and providing transitional flourishes with charm and joy. Not long after, we meet Andrew Whitehead as Mr Mushnik, who plays the cliché of a proper New Yorker with sheer gusto that is wonderfully magnetic to watch.

The story, as you might expect, moves extremely fast and it isn’t long before we meet our two leads of the show, with the third - the infamous plant - following swiftly behind, thanks to some conveniently hasty exposition.

Oliver Mawdsley, as Seymour is absolutely sublime and perfectly cast. He embodies the humble and bumbling character with such precise characterisation, carefully observed mannerisms and brilliantly practiced physicality - clearly having an absolutely fantastic time doing it. As the plot develops, we are treated to his brilliant puppetry too. The song where he holds and brings to life the fledgling Audrey II in a pot in his arms is a delight to watch, and definitely a personal highlight. His singing throughout the show is absolutely on point too, and I found myself with goosebumps on more than one occasion at the passion in his performance.

Laura Jane Matthewson, as Audrey is another fantastic high point in this team. She plays the role with sparkling energy and her songs are a delight to listen to. Indeed, my companion remarked that her version of “Somewhere That’s Green” was the best they had ever heard.

Matthew Ganley, as the patently detestable Orin (the dentist, dentophobes be warned!) is also clearly having a great time. He plays the role with pure delight, and his turn as the dentist is appropriately terrifying…but still in a very fun way. A wonderful(?) unease fills the auditorium as he gets Seymour into his chair, and it makes for a few squirm-inducing minutes which Matthew plays on to maximum effect.

Anton Stephans provides the voice of the murderous plant, Audrey II. He does so with silky smooth charm and a deliciously purring timbre meaning that despite the horrible events transpiring, it’s simply impossible not to be swept up and taken in by the charismatic cannibalistic creature. His songs are mesmerisingly delightful and when paired with the excellent puppetry work by Matthew Heywood, make for a very compelling character to love or hate as the story goes on.

The puppets themselves - made and directed by Michael Fowkes - need their own special mention too, famous as they may be to grow in stages throughout the show, in this production each iteration is its own delight. The first movements inspire knowing chuckles from the audience, and the ingenuity of the workings as the plant grows is a demonstration of theatre magic each time.

The show moves along at a great pace throughout (arguably the second half raced by a bit too quickly) but it’s a testament to how much I was enjoying myself that I didn’t really want it to end.

The all-back-in finale caps off the show with a tremendous wave of joy, despite the bleakness of the denouement before it, and it makes for a superb atmosphere in the auditorium when everyone comes together on stage for such a phenomenal performance in that final song.

I’m not going to go into much detail on the story - you either know it already, or you’ll get to enjoy it for the first time like me - but I can honestly say that I’ve never enjoyed such a horrible premise more.

It’s clear everyone has put a lot of love into this show, and it received a thoroughly deserved standing ovation at the end of the performance.

By a lovely coincidence, I already had some tickets booked for this show when I received the invite to review it, so I get to see it again later this week; what a fabulous position to find myself in - I can’t wait.

Little Shop of Horrors is at New Wolsey Theatre, Ipswich until 23 March 2024.

FOR FULL SHOW DETAILS AND BOOKING LINK, CLICK HERE

King Arthur

The Woman in Black

Suffolk on Stage