Venue fail in Little Shop of Horrors

"Feed me, Seymour!" Little Shop of Horrors's haunting signature line, with Alan Committie as the hapless Seymour. Photograph courtesy Montecasino Theatre.

“Feed me, Seymour!” Little Shop of Horrors’s haunting signature line, with Alan Committie as the hapless Seymour. Photograph courtesy Montecasino Theatre.

In this Hairspray-meets-Faustus 1960s-redolent musical, you get to experience the schlock-horror tradition from which musicals like The Rocky Horror Picture Show were spawned and blending some fabulous rock ‘n’ roll, doowop and Motown moves, Little Shop of Horrors is a hugely palatable production which engages with issues like urban decay, parochialism and abuse all couched in an unashamedly bizarre tale of a flesh-eating plant named Audrey II, which grows spectacularly through the show’s run.

Generally, in a show of this nature, it would be the plant itself that is the central focus and main character – and drawcard – but in this production, the cast and the set win over, in spite of a very vociferous and wittily positioned ‘Audrey II’. The joint-narrator, comprising Ronette, Crystal and Chiffon, performed by Dionne Song, Chantal Herman and Lelo Ramasimong respectively absolutely excels: the three, almost acting like a Greek chorus, lend the work the frisson of horror and camped up flippancy or added narrative that keeps it human and colourful; relative newcomers on Johannesburg’s stages, they’re fabulously cast and have exceptional character and voice.

With sterling performances by Michael Richard as Mr Mushkin, a stereotypical New York Skid Row Jewish businessman and Alan Committie, the hapless Seymour, thankfully holding himself back from too much ad libbing, the production has a kind of acid green-bubble gum pink flavour and this is its drawcard, perhaps, but also its downfall: the work in this theatre offers a technologically-rendered sound which is simply too big for the space, and it lacks nuance. It’s like a colour-by-number show where every element has the same level of intensity. And the effect, after your brain has synced to its rhythm, is deadening.

In this production, it’s like everything is ramped up as loud as possible and while the cast loyally and bravely do their best to retain focus and audience interest, sometimes that blend of really loud piped music that you feel in your molars and amplified vocals is so loud that you cannot hear the words. It’s not clear why this has been done: surely the technology of such a well-established theatre as Montecasino’s Pieter Toerien has the wherewithal to contain nuance or to make provision for what happens to a venue when it’s full of people.

It’s a pity as it reduces this otherwise delightful production, which features an utterly beautiful set that really steals the show, to an irritating squeaky squawkiness, which might well drive you away at interval – as the empty seats in the second half attested to, shortly after opening night.

  • Little Shop of Horrors is directed by Steven Stead, based on the book by Howard Ashman. It is designed by Alan Menken (music), Evan Roberts (original tracks), Justin Southey (musical direction), Janine Bennewith (choreography), Greg King (set), Tina le Roux (lighting) and Mark Malherbe (sound); with puppets by Greg King and Wendy Henstock. It is performed by Alan Committie; Zak Hendrikz; Chantal Herman; Brandon Moulder; Adam Pelkowitz; Lelo Ramasimong; Michael Richard; Dionne Song; Audrey van Litsenborgh; Jaco van Rensburg and Tim Wells, and is at Pieter Toerien Theatre, Montecasino, in Fourways, until August 9. 0115111818 or http://www.montecasinotheatre.co.za
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