REVIEW: Little Shop of Horrors at Town Theatre by Roxy Lenzo Douthit

Town Theatre is closing out their 106th season on a high note with the musical comedy, Little Shop of Horrors, capturing the camp and humor we expect from this classic.

Based on the 1960 film by Roger Corman, with a screenplay by Charles Griffith and music by Alan Menken, the musical Little Shop of Horrors premiered in 1982. The play was originally directed by Howard Ashman with music staging by Edie Cowan, vocal arrangements by Robert Billig, and orchestrations by Robert Merkin. The musical was then adapted for the 1986 film starring Rick Moranis, Ellen Greene, Vincent Gardenia, Steve Martin, and the voice of Levi Stubbs.

Town Theatre’s production shows that the story stands the test of time.

As the nerdy flower shop assistant, Seymour, whose unusual plant brings success to a skid row flower shop, Batesburg-Leesville Highschool Junior Nathan Jones does Rick Moranis, who starred in the original screenplay, proud. Seymour pines over his co-worker Audrey, played by Kayla Welch whose beautiful voice had us all rooting for her dreams in “Somewhere That’s Green” despite her terrible taste in men. Trigger warning: Little Shop of Horrors is set in the late 1950s and Audrey’s abusive relationship with her dentist-boyfriend plays a major part in the conflict of the play. But this production turns some of the less tasteful tropes, like the Chinese florist in “Da-doo” who ultimately gives Seymour the plant, on their heads with clever choreography.

Jeffrey Sigley brings levity and a booming voice to Mushnik, the flower shop owner. Yvee Willis, Ivy Munnerlyn, and Brittany Clark as Chiffon, Crystal and Ronnette, our Mo-Town inspired Greek chorus, are a powerhouse trio. Their changing costumes demonstrate the evolution of Skid Row thanks to Audrey II’s influence, so shout out to Dell Goodrich as costume designer for incredible storytelling via wardrobe.

The animating team for Audrey II is created with camp by Scott Vaughan aka “The Muscle” and Thomas Sowell who is a highlight as “The Voice.” Audrey II is so impressive the audience gasped when the lights came up for Act II. Lilia Barfield, Thomas Bozard, and Kelsey Graham make up an ensemble that does not fade into the background. Bozard’s comedic instincts, Graham’s dancing, and Barfield’s voice all pulled the spotlight at different parts of the performance.

But it is Brady Bramlett’s debut performance that really steals the show. He shines as Dr. Orin Scrivello, D.D.S. with impeccable comedic timing creating a villain you love to hate. His physical comedy in “Now (It’s Just The Gas!)” was electrifying, with more than a few cackles heard throughout the audience. Though it was his debut performance, Bramlett was not limited to one character. His comedic skills were put to the test in quick change performances in the ensemble that had this reviewer in stitches.

The musicians Gage Banks (Percussion), Sean Ellen (Bass), Alan Knight (Guitar), and Michael Simmons (Piano/Conductor) played on a second story deck built into the set and their physical presence  sitting above the performers brought a rock ‘n’ roll vibe to the entire performance. The show is directed by Shannon Willis Scruggs with choreography by Roxanne Livingston Rich. Scenic design is by Bob Bramhall with technical direction and lighting design by Jeremy Hansard. Costume design is by Dell Goodrich, props by Gina Janvrin and stage management by Chelsey Art.

Little Shop of Horrors is playing through the end of the month with performances on Thursday, Friday, Saturday, and Sunday. You can purchase tickets online from Town Theatre or at the box office Tuesday to Friday, 12 noon to 5 PM or 2 hours before curtain on show days.

A New Era Exploding at Trustus - a review of Ragtime (the Musical) by Jillian Owens

It was the music of something beginning. An era exploding.

A century spinning.

In riches and rags,

And in rhythm and rhyme.

The people called it Ragtime.

(L-R) Avery Bateman, Terrance Henderson, Marybeth Gorman, Luke Melnyk, G. Scott Wild

 

Ragtime (the Musical) - based on the E.L. Doctorow novel of the same name - is a story of hope and disillusionment in the face of the American Dream.  This dream is interpreted in many different ways by the many characters in the show, which opened at Trustus Theatre this past weekend.  Ragtime opens during the “Progressive Era” in 1904.  Industry is booming, and excitement is in the air.  This air is filled with the strange, new, simple, and syncopated music of Ragtime.  The music (by Stephen Flaherty) is catchy and tender, simple yet deep, with lyrics by Lynn Ahrens, and book by Terrence McNally.

Mother and Father have a kind, though sterile marriage.  When Father, played by G. Scott Wild, heads off to explore the North Pole with Admiral Peary, Mother - played by Marybeth Gorman - is left to tend to their son, large house, and business affairs.  When she digs up something very unusual in her garden, a chain of events are pushed into movement that will change the lives of her small family, as well as the communities around her.

ragtime2

Ragtime shines thanks to one of the most talented casts it could have possibly pulled together, consisting of many Columbia theatre veterans, as well as a few talented new faces.  There are no weak links in this production.  Terrance Henderson pulls double duty as the charismatic ragtime musician Coalhouse Walker and the show’s choreographer.  Vicky Saye Henderson plays the radical anarchist, Emma Goldman, with gusto, Younger Brother - played by Kevin Bush - is passionate about finding something to be passionate about, and Scott Vaughan’s appearances as Houdini, though short, are very charming.  Chip Stubbs delivers a beautiful standout performance as Tateh, with a voice that conveys all the determination, elation, and heartache of a poor immigrant father struggling to reconcile his dream of America with the reality of his new world.  Stories are intertwined and alliances are made and broken.  With so many characters and stories, you’re bound to find at least a few you can identify with.

(L-R) Terrnce Henderson, G. Scott Wild, Luke Melnyk, Marybeth Gorman, Avery Bateman; photo by Jonathan Sharpe

If you call the Trustus Box Office hotline, a friendly recording will inform you that this show has over thirty actors in the cast – the most they’ve had onstage at one time.  Upon hearing this, I must admit I was a little worried.  When Trustus tries to put on a large-scale show, it usually ends up being a mixed bag.  Their small stage can only hold so much spectacle, scenery, and cast members before things start to get cramped.

Fortunately, for director Chad Henderson, this particular big show doesn’t require a massive set or much spectacle beyond the talent of its actors.  That’s not to say the set is unimpressive.  Brandon McIver’s construction of his giant Statue of Liberty was well-documented on the Trustus Facebook page in the weeks before the opening.  This, along with fragments of early 1900’s Americana, are evocative of the period and theme.  The orchestra is small but skilled.  The costumes are period-accurate and lovely.

Between Henderson’s (Chad) stage direction and Henderson’s (Terrance) choreography, the actors don’t seem confined or cramped at all.  I would advise you to try to get a seat closer to the back as sight lines are a slight issue.  I can’t help but wonder…Is the success of Ragtime just the beginning of a new era of larger-scale productions for Trustus?  Are we ready for this “new music”?

~ Jillian Owens