Alan Menken’s cult classic Little Shop of Horrors has been revived at The Crucible Theatre, Sheffield, with a shiny new coat of paint, bringing this much-loved musical roaring into the 21st century. Revivals and reimaginings of much loved classics can be misguided and often fall flat, but this production delivers a refreshing take that is bursting with energy, even if some creative choices seem to come out of nowhere.
Set in the gritty depths of urban Skid Row—transplanted to a distinctly British aesthetic—Little Shop of Horrors tells the story of Seymour, a hapless florist assistant who stumbles upon a strange and interesting plant, Audrey II, that turns out to be a carnivorous alien with plans for world domination. It’s a premise as outlandish as it is iconic, and this production knows how to play to its strengths.
Colin Ryan’s Seymour is an endearingly awkward everyman with a nervous charm that wins over the audience, though his Brummie accent—part of the production’s UK setting—feels like a double-edged sword. While it adds a quirky, localised flavour, it does seem to limit the vocal punch of Seymour’s musical numbers. That said, Ryan’s heartfelt performance ensures you’re rooting for him all the way.
Georgina Onuorah’s Audrey is nothing short of sublime. Gone is the ditzy blonde archetype of old; instead, Onuorah brings depth and a raw vulnerability to the character, making her all the more relatable. Her renditions of “Suddenly Seymour” and “Somewhere That’s Green” are spine-tingling highlights that elevate the entire production. These moments alone are worth the ticket price.
Audrey II, reimagined as a flamboyant drag queen embodied by the exceptional Sam Buttery, is a standout creative choice. Buttery’s vibrant, sassy performance is captivating, with vocals that are every bit as commanding as the plant’s infamous appetite. While the occasional puppetry moments lacked polish—mouth movements out of sync with the speech, and the occasional stiff puppet looking lifeless —it’s a small gripe in an otherwise dazzling portrayal.
The decision to set the production in the UK brings some fresh humour and innovation but also a few disjointed moments. The script remains unchanged with its Americanisms in the dialogue, being set in Los Angeles’s Skid Row and US dollar bills used as prop money, which creates an odd cultural clash. Similarly, Michael Matus’s Mr. Mushnik trades the traditional over-the-top Jewish caricature for a more subdued “soap opera” style, losing the character’s comedic spark in favour of gritty storytelling.
When you think about the Dentist, it is hard to get the maniacal performance of Steve Martin out of your head. Wilf Scolding’s Orin Scrivello, however, is a revelation. Leaning into the villainy with a distinctly British twist, Scolding brings a fresh, gleefully sinister energy to the role of the deranged dentist. Meanwhile, the street urchins—Ronette (Lizzy Rose Esin Kelly), Chiffon (Paige Fenton), and Crystal (Charlotte Jaconelli)—are reimagined as cheeky chavs, injecting a uniquely British humour into their roles as narrators.
Georgia Lowe’s set design, Jessica Hung Han Yun’s lighting, and Rob Bettle’s sound design keep things simple yet effective. By forgoing extravagance, the focus remains squarely on the performances, which are undoubtedly the heart of this show. The use of video screens, a revolving stage, and some light fourth wall breaking are all fantastic additions to this production.
While Little Shop of Horrors at The Crucible may not be a flawless revival, it’s a bold and often brilliant production that breathes new life into this cult classic. Packed with jaw-dropping performances and fresh creative choices, it’s a thoroughly enjoyable evening of theatre. Whether you’re a long-time fan or a newcomer to Skid Row, this is a show well worth seeing.
Little Shop of Horrors runs at The Crucible Theatre, Sheffield, until January 18th. Snap up a ticket if you can—this is one plant you won’t want to miss!
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