Big Fun at the Little Shop
Arizona Theatre Company's Little Shop of Horrors at Herberger 
Theatre
****1/2 (out of *****)
Mark S.P. Turvin
(w) 965-1021  (h) 894-5443
I can be reached for comment via e-mail at: mspt@asu.edu

	Until January 20th, Arizona Theatre Company presents a 
musical comedy based on schlocky '60s B-movie about a nebbish and 
his murderous man-eating plant. Despite sounding like the recipe 
for disaster, these are actually the ingredients for a highly 
entertaining evening of music, mirth, murder and merriment.
	 In 1960, Roger Corman, the "King of the B-movie," put 
together a seventy minute horror film about a horticultural slob 
living on Skid Row who nurses a strange plant to health by feeding 
it blood. The more blood he feeds it, the more success he finds in 
his life. This odd movie, shot in two days on a shoestring budget, 
became a cult classic. It was this eccentric and funny movie that 
author and lyricist Howard Ashman and composer Alan Menken used to 
create an ingenious and clever musical. 
	This is not your typical musical theatre fare. Seymour, a 
nerdy, orphaned flower shop attendant at the decrepit Mushnik's 
Skid Row Florists, discovers a strange new flytrap. Once he and 
his heart's desire and fellow co-worker, Audrey, convince his 
boss, Mr. Mushnik, to allow them to display this odd plant, the 
shop suddenly becomes successful. Inadvertently, Seymour discovers 
that his new plant, which he's named Audrey II, has a taste for 
blood. The more blood he feeds to this plant, the more success he 
finds. Eventually, he is forced to homicide to win the heart of 
the dim and fair Audrey.
	ATC's production of this clever and technically challenging 
show is stellar. David Ira Goldstein's direction keeps up the fast 
and furious pace, and though there are moments where the frenetic 
pace threatens to overwhelm the actors and orchestra, he manages 
to build the show to it's ironic and hilarious conclusion. 
	The star of the show, before the great cast, is the plant 
itself, which grows and flourishes before the audience's eyes. 
Done through impressive puppetry by Ed Fusco and the voice of 
Dennis Rowland, Audrey II is the central gimmick to this show that 
never fails to entertain. Mr. Rowland's voice is wonderfully deep 
and sinister, and compliments well the ominously growing puppet 
onstage.
	The human cast, save for one exception, was just as powerful 
as the puppet. John Allee as Seymour seems tailor-made for the 
role. He is short, nerdy looking, and has a great tenor voice 
which hints at, but never really attains, whininess. Debby 
Rosenthal portrays the ditzy but well-meaning Audrey with an 
honest freshness and terrific nasal voice that manages to convey 
character yet never grates on the nerves. The Greek chorus, three 
women reminiscent of the Supremes who comment on the action and 
act as the narrators, was performed wonderfully by Kimberly 
Hawthorne, Bambi Jones and Sharon Leal. All three were great 
singers and dancers, and their energy helped propel the few slower 
moments of the piece. John Schiappa's Orin, the menacing dentist 
and Audrey's abusive boyfriend, also gave an energetic performance 
and was a solid singer. 
	The only weakness in the show came from Benjamin Stewart's 
portrayal of the important character, Mr. Mushnik. He never gave 
more than a two-dimensional presentation, and was not nearly as 
menacing and manipulative as his character called for. His singing 
was weak, and, next to the great performances given by Mr. Allee 
and Ms. Rosenthal, stood out as the only problem in an otherwise 
wonderful and entertaining evening.
	Patricia Wilcox' choreography was wonderful, and her 
movements for the girl chorus were engaging. Tom Butsch's scenic 
design, and Don Darnutzer's lighting design were spectacular, and 
added to the campiness of the piece. Jerry Wayne Harkey's musical 
direction worked well overall, though the orchestra occasionally 
threatened to overwhelm the performers, especially Benjamin 
Stewart (Mushnik). Part of this may be attributed to Jeff Ladman's 
sound design, which, despite this, still worked well in every 
other way. 
	ATC has always been a great theatre company, and presents 
solid and enjoyable work. With Little Shop of Horrors, though, 
they have topped their usual high expectations and offer a 
wonderful presentation of an imaginative and hilarious piece. 

Production Details:
Little Shop of Horrors by Howard Ashman and Alan Menken
Herberger Theatre, Phoenix
256-6899
December 28, 1995-January 20, 1996
$25-$45

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