Review: Little Shop of Horrors at the Hope Street Theatre ****

The 50s and early 60s were a golden era for what might be termed shlocky horror – a Technicolor, B-movie paradise of aliens from outer space, mutant creatures from below the waves and the undead doing unspeakable things.

They revelled in lurid names like The Giant Claw, The Killer Shrews and, of course, Invasion of the Body Snatchers.

One of the purveyors of this cinematic genre was Roger Corman who in 1960 directed a black comedy called The Little Shop of Horrors, written by his long-time collaborator Charles B Griffith.

While many of Corman’s fantastical films have gained a dedicated cult following, the tale of the hapless flower shop assistant who propagates a mysterious plant with a voracious and bloody appetite has crossed into the mainstream through Howard Ashton and Alan Menken’s cheery musical homage, brought gleefully to life in this production by Liverpool’s What We Did Next.

The theatre troupe is run as a Community Interest Company, but while its performers are nominally amateurs its productions are approached with professionalism.

That’s certainly in evidence in Little Shop of Horrors, with the large cast – and the four-strong band ranged across the back of the stage – transporting the room to early 60s Skid Row where the orphaned Seymour (Kai Heale, channelling the character’s soft-spoken diffidence and vulnerability) is general dogsbody in Mushnik’s down-at-heel neighbourhood florist’s while silently yearning for Jennifer Morrow’s gentle Audrey and tending the strange succulent which appeared after a sudden eclipse.

Above: Daniel Hickman as Orin the demon dentist. Top: Seymour (Kai Heale) and Audrey II. Photos by Andrew AB Photography.

Around this odd little ménage à trois – Seymour, Audrey and the carnivorous ‘Audrey II’ – swirl a cast of larger-than-life characters who offer excellent value for theatrical money.

They include Daniel Hickman, who has no end of fun as the wild-eyed demon dentist Orin Scrivello, and Katie Moncaster, Julie Evans and Roisin Carlin as Skin Row’s own sparky, sweet-voiced Greek Chorus, harmonising beautifully through Menken’s doo-wop, Motown and rock ‘n’ roll-inspired songs.

Above: Roisin Carlin, Julie Evans and Katie Moncaster. Photo by Andrew AB Photography.

Hope Street’s is not a large stage, and when you add the set and sheer number of performers in action simultaneously it means there’s often not much room for manoeuvre.

But director Kate Marrin keeps the action bright and tight and has some neat ideas for how to make the space work, particularly during the scene where punters flock to the suddenly famous flower emporium, and also in utilising – later on in the second half - a small balcony/box off stage right.

At the same time, while the theatre auditorium is intimate enough not need mic packs, there were occasions on opening night where, even a few rows back, it was difficult to hear some of the dialogue and lyrics. More projection is needed here and there to reach right to the rear of the tiered seating.

But that’s an easy enough fix, and with the production channelling plenty of charm, energy and musicality, audiences at the (apparently) sold out remainder of the run are guaranteed to leave with a smile on their face.