For the last few summers, I’ve fudged the “No Educational Theatre Reviews” rule by attending the benefit for the Maricopa Community College Literacy-Outreach Program produced by Mesa Community College’s Department of Music. Every year, I’ve been happy I did. This summer’s production of Little Shop of Horrors at the mainstage of Phoenix Theatre is no exception. The cast of nine, including two you never see (and a few ringers who are no longer technically still at Mesa CC, but I’m willing to fudge that fact), are outstanding. Under the direction of Phoenix Theatre’s resident funny man and co-choreographer Robbie Harper, the ensemble pulls off an almost flawless production of this campy musical that manages to overcome one of the worst cases of simultaneous mic malfunction I’ve seen in awhile.

There’s not much new here: Harper’s direction is similar to every production I’ve seen recently. Of course, what’s been done recently is nearly perfect, so there’s no need to mess with it: Billy Irwin’s Seymour is a nebbish; Misha Faucher’s Audrey is a squeaky sweetheart with a past; Jere Van Patten’s Mushnik is a vociferous schmuck; Phillip Fazio’s Orin is a slimy charmer with a pain fetish; Jennifer Jackson’s Ronnette, Anika Tisdale’s Crystal, and Leia Scott’s Chiffon are a hovering chorus with ironic and spooky commentaries; and Scott Pierce’s voice is a throaty, ominous Audrey Two with intimations of R and B. Musically, the group is phenomenal, and their timing is solid. Michael Flosi’s manipulation of the man-eating plant is top notch. Harper’s choreography is uniformly excellent, though the three ladies of the chorus are often out of synch, something a group that draws on the Supremes as a base should never be. It’s everything you could ever want from this hilarious show.

Irwin is an earnest Seymour. He doesn’t depend as much on pratfalls as simple shyness to bring along his character. Faucher has an excellent voice and a great stage presence. She is always in the moment. Van Patten is a real treat and hilarious as the kvetchy Mushnik. Fazio does an impressive job transforming himself from the sadistic dentist to the other various roles that he inhabits. This is the kind of fun you want from late summer entertainment.

Alan Ruch’s orchestra sounds lush, and Gregory Jaye’s set works well. Mike Eddy’s lighting includes some excellent moments and eerie goboes. However, Mike Temby’s sound design is unusually buggy, failing on several occasions throughout the evening.

Don’t miss this chance to see the up-and-comers heading through the ranks. These are the future stars, and they are shining this week on the Phoenix Theatre stage.