Little Shop of Horrors

7/10

Entering the lobby for an opening weekend performance of Little Shop of Horrors feels like any other trip to the Acrosstown Repertory Theatre, but everything changes the moment the set comes into view. The ART’s limited space is used in such a unique and immersive way that Skid Row comes to life. Brick façades surround the audience, and hidden somewhere, a puppet waits for its moment to shine. Every inch of space is decorated and the details, from the moss growing through bricks to the cracks in the street, are meticulously thought out and executed to set the stage for Little Shop of Horrors.

The show begins with a modern interpretive dance utilizing the main actors and an ensemble. This choreography introduces the audience to an underlying horror concept  that runs throughout the show, which might not be apparent to every audience member and may be off-putting. The set also utilizes several opaque screens in faux windows allowing the actors to create shadows and silhouettes behind the set, creating depth for the story beyond the brick walls in front of the audience. At one point, the actors dance behind these screens using just their hands to add an eerie element, hinting at something lurking. The lighting was superb, enhancing the show and subtly emphasizing a scene’s intended emotion.  Taken together, this gives the impression of a creepy and campy haunted house in the best way.

Unfortunately, the stage set a high bar and not everything lived up to the initial excitement.  Some characters seem half-formed, leading to diminished conflict and chemistry as the action rises. This critique certainly does not apply to Justin Clement’s portrayal of Mr. Mushnik, the disreputable owner of the flower shop who comes to life through the actor’s mannerisms, voice, and haggard appearance.

One of the major benefits to the ART’s current space is the intimate nature of it, with actors able to speak in more hushed tones while still being heard. However, with background music throughout speaking scenes, much of the spoken dialogue is lost or the impact of the words softened. At times, it even overpowers the very capable singing talents. Luckily this does not hinder the  “urchins” of Skid Row (brilliantly brought to life by Kailani Jackson, Arienne Shelton, Layla Edwards) who serve as the narrators of the story in the style of a Greek Chorus, while adding comedic flare and well-executed crowd interactions.

One of the most interesting choices in this adaptation pertains to the iconic plant puppet – Audrey II. Without giving away too much, the director cast Megan Clark to not only voice the ravenous plant, but also personify it. It’s always refreshing to see a new take on an old idea, but unfortunately, this idea left the beautiful puppet as little more than a forgettable set piece, while adding little to the plant's character.

Overall, the production design (set, lighting, and choreography) was the true star of the show and served as a modern art piece for anyone wanting to analyze and appreciate a fresh perspective on a beloved classic.

At time of post, all performances are sold out. To join the waitlist visit acrosstown.org