Little Shop Of Horrors Tickets – Certain carnivorous plants have been replanted in Hell’s Kitchen, and I’m happy to report that they’re thriving there. A hot performing bush from the past, named Audrey II, has found a new dance partner, a performer who can bring out the star-studded qualities of the strange plant specimen.
That’s Jonathan Groff, who delivers a dose of geeky charisma in a delicious revival of Michael Mayer’s “Little Shop of Horrors,” which opens Thursday at the Westside Theatre/Upstairs.
Little Shop Of Horrors Tickets
A bright, wide-eyed veteran of Broadway musicals (“Spring Awakening,” “Hamilton”), Groff has recently found himself streaming celebrity as an F.B.I. agent on “Mindhunter” on Netflix. As Seymour, the idiot hero in “Little Shop,” Howard Ashman and Alan Menken’s 1982 musical, he imbued his graceful persona as a singing, dancing child with a whiff of corruptible innocence.
Little Shop Of Horrors Broadway
This Seymour – a flower shop assistant best known as the man-eating guard Audrey II – is both sweeter and creepier than his previous incarnation. Hence, Groff is part of a production that also has a winning cast of Tammy Blanchard and Christian Borle, who understand that camp is most successful when played with genuine sincerity, rather than winks and smiles.
“Little Shop” has been around since it first hit Off Broadway, with a cast led by the divine Lee Wilkof and Ellen Greene. Inspired by Roger Corman’s 1960 cult film “Little Shop of Horrors,” the musical adaptation itself was recycled into a 1986 film, and there are currently rumors of a cinematic remake.
On stage, the show is a perennial favorite of high school and community theaters. Both Audrey II and company made their Broadway debuts in the large-scale, anodyne 2003 production.
There was also the emotionally resonant 2015 Encore! concert version, in which Greene recreated her original role opposite Jake Gyllenhaal. With that, I feel ready to say goodbye to this wonderful show from my youth.
The Roxy Theatre
But against all expectations, Mayer’s interpretation, staged in the 270-seat theater, evoked the excitement I felt when I saw “Shop” at the East Village Orpheum nearly four decades earlier. It returns the show to its original scale and sensibility, reminding us of the special power of bad things that come in small, impeccably wrapped packages.
This is not an exact facsimile of the (1982) production directed by Ashman. Working with a capable design team, Mayer elevates the show’s classic pulp elements, a low-rent noir aura sprinkled with flecks of blood red.
Julian Crouch’s Skid Row set – where sooty doors frame the grimy shop of the title – is an urban legend rhapsody in grime, lit to cool by Bradley King. It’s here that Groff’s Seymour toils selflessly as the bumbling assistant to his owner, Mushnik (an unsympathetic Tom Alan Robbins).
Christian Borle, as the sadistic dentist, begins working on Seymour de Groff. Credit… Julieta Cervantes for The New York Times
Delta Secondary School Presents Little Shop Of Horrors
His co-worker, Audrey (Blanchard), is a masochistic girlfriend dating a sadistic dentist. (The effervescent Borle, a two-time Tony winner, makes the most of this and other roles.) She was also Seymour’s dream girl, and in her honor he bestowed the name Audrey II on the strange, sickly plant, which he captured in Chinatown during a solar eclipse .
Audrey II, it turns out, has a rolling, soulful, irresistibly royal voice provided by Kingsley Leggs, sounding like a mix of Chuck Berry and Barry White. And that requires Seymour to feed him human blood. As the plants continue to grow, Seymour becomes a star for hanging out with these extra-large creatures. But maintaining fame requires sacrifice, and it is a human sacrifice.
Ashman (book and lyrics) and Menken (music) — who later collaborated on favorite scores for Disney animated musicals like “The Little Mermaid” — had the happy idea of setting this story with the tight rhythms and harmonies of a Brill Pop-style plot building in here commented by a Greek chorus of street Urchins. (Will Van Dyke is a skilled arranger and orchestrator.) The origins of their style are suggested by their name: Ronnette, Crystal and Chiffon, the cleverly synchronized but fiercely individualistic team of Ari Groover, Salome Smith and Joy Woods. (One caveat: the thick vocal balance sometimes makes their witty lyrics incomprehensible.)
Blanchard’s singing voice tends to jump around, like an anxious but enthusiastic skydiver who never knows where he’ll land. This turns out to be very suitable for his insecure character, whose past is full of violence from Mr. Wrong. (The actress’ confidence amplifies our discomfort when we see Audrey show up at work bruised and battered by her love life, a visual gag that now looks uncomfortable.)
Little Shop Of Horrors Extravaganza
Tammy Blanchard, right, is Groff’s co-worker, Audrey, who was the victim of a bad relationship. Credit… Julieta Cervantes for The New York Times
Wearing skin-tight, cleavage-revealing dresses (Tom Broecker does it in a suit) and striking distressed and graceless poses, this Audrey brings to mind the damsels in distress on the covers of old crime pamphlets. In contrast, the bespectacled, slovenly Seymour is barely visible when we first meet him.
But as Audrey II – whose larger and hungrier incarnation is embodied by Nicholas Mahon’s astonishing puppetry – Seymour continues to grow in presence.
Watch the look on Groff’s face as he crosses the stage, cradling an early version of a spiky hand puppet of his truest soulmate, who tries to bite the front row. The attention was new to Seymour; he likes it. And when, surrounded by frisky Urchins, he made an involuntary hip thrust, his face lit up with subtle, pleasant surprise.
Little Shop Of Horrors
“Hey, this feels good,” he seemed to say. And without completely abandoning Seymour’s early unrestrained expressions or milquetoast voice, Groff charts the precise evolution of a man intoxicated by the prospect of world fame. Which, as a musical comedy, thankfully suits a cast that insists on releasing good old revues.
Corman’s film “Shop,” like many horror and science fiction films of Eisenhower’s time, is an atomic age fable, playing on a nation’s fears of mad science. This triumphantly revived musical has its own sly message for an age where celebrity is seen as a constitutional right: Embrace fame at your own peril. It’s a killer.
Ben Brantley is a theater critic for The New York Times. He has been a staff critic since 1996, filing reviews regularly from London as well as New York. Before joining The Times in 1993, he was a staff writer for the New Yorker and Vanity Fair. More about Ben Brantley
A version of this article appeared in print in , Section C, Page 2 of the New York edition under the title: A Delicious Revival For A Dreadful Shop. Reprint Orders | Today’s Paper | Subscriptions no longer support older versions of your browser to ensure user data remains safe. Please update to the latest version.
Little Shop Of Horrors Cast One
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