MUSICAL REVIEW: Little Shop of Horrors
I recently re-re-re-watched a slime tutorial of Little Shop of Horrors starring Jeremy Jordan (Newsies) and Christian Borle (Something Rotten) on YouTube with my friends and it was SO much fun. Partly because it’s our dream show for next year and partly because we had nothing better to do.
If you don’t know what this musical is, Little Shop of Horrors is a darkly funny sci‑fi rock musical about a flower shop assistant who discovers a mysterious, bloodthirsty plant that brings him sudden fame, love, and success at a horrifying cost.
The musical is set in a neighborhood in urban skid row, usually portrayed as a rundown corner where people are broke, stuck, and pretty much ignored by the rest of the world. Mushnik’s little flower shop sits right in the middle of that environment, barely surviving, which makes the characters’ desperation for a way out feel totally built into the setting.
I’m not here to spoil the musical for you, but I have a lot of feelings about this show and a list of reasons why it’s one of my dream shows to do. It’s funny and ridiculous on the surface, but the more I watch it, the more I notice how much it says about wanting to be seen, wanting to escape, and how far people will go once they realize they might finally get the life they’ve always wanted.
Thoughts about the show:
I really thought the urchins were such an interesting character trio, and their format reminded me a lot of Hadestown. I feel like they’re kind of just lurking around, almost neutral, not advising evil but not exactly preventing harm either. I like how they break the 4th wall and comment on the story while still being core characters.
Seymour’s death was always really interesting to me, especially because the stage ending is different from the movie. Every time I watch it I wonder if he lets himself get swallowed to be with Audrey, to escape this fame life he never actually gets to enjoy, or maybe both at once.
I feel like Audrey II is such a good representation of how fame works in the modern world. It promises everything (success, attention, security) but every “yes” comes with a bigger cost, and by the time you realize how much you’ve given up, it’s already too late.
Audrey (the girl) feels like a reflection of what it meant to be a woman in that era, constantly trying to fit into these really narrow gender norms. Her whole “somewhere that’s green” dream is small and domestic, but you can tell it’s made by this idea that a woman’s big goal is to be pretty, soft, taken care of, and not take up too much space (thank you my gender history class).
Mushnik is such a good example of how older authority figures can switch up the second they see a chance at success. The way he suddenly decides Seymour should be his “son” feels less like love and more like ownership. He wants to lock down the money and attention Seymour brings in so it doesn’t slip away.
Overall, I love how the show balances ridiculous comedy with genuinely dark, heavy themes. It definitely lets you laugh at the absurdity of it all, then hits you with the realization that these characters aren’t that far from how real people act when they’re desperate to get out, get noticed, or get love.
Why I want to do this show:
I want to do this show partly because the set is mostly pretty minimal, which gives the tech and set crew one huge, exciting challenge to focus on: the plant. The idea of building and working with a giant Audrey II puppet sounds ridiculously fun and like something our program doesn’t usually get to try.
The music lives in that same world as Hairspray (that retro, pop-rock, soulful sound) and it’s a style I’ve always wanted to actually sing in a show instead of just in the car or in my room.
I first got into theatre through a bunch of random cast recordings and YouTube clips, and “Suddenly, Seymour” was one of the first songs that really hooked me. Getting to do a full production of a musical that helped pull me into theatre would feel like a full-circle moment.
I love that the show actually has something to say, but it doesn’t beat you over the head with it or call out one specific group of people. It exposes how people act under pressure (how they chase control, safety, or validation) while still keeping this layer of humor that feels very human.
The songs are actually insane, especially the urchins’ harmonies. There’s so much room for tight ensemble work and group vocals that would be super satisfying to rehearse and perform.
Seymour is one of my dream roles because he’s such a big shift from how I usually get cast. I’m often the baritone authority figure (Hades in Hadestown, Gomez in Addams Family), so getting to play a nervous, awkward, higher-placed character with a totally different energy (and a lot of fun, challenging songs) would be a huge stretch in the best way.
Thank you for reading my review! I’ve listed some resources down below.
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