LITTLE SHOP OF HORRORS

LOS ANGELES TIMES
Los Angeles, California
Thursday, September 24, 1998

BIG ENJOYMENT FOUND IN 'LITTLE SHOP'
By F. KATHLEEN FOLEY

When it comes to crowd pleasers, you can't beat "Little Shop of Horrors," the musical adaptation of the vintage sci-fi movie. Alan Menken's rock-around-the-clock music and the playful book and lyrics by the late Howard Ashman send this delightfully screwball tale, about a man-eating plant from outer space, rocketing into high camp.

The current production by Civic Light Opera of South Bay Cities is impeccable in all particulars, with a terrific cast that milks every moment of the fun. Scott Dreier projects nebbishy appeal as the downtrodden Seymour, a skid-row florist-shop clerk whom the blood-thirsty plant enlists as a sort of, well...menu consultant. As Audrey, the object of Seymour's adoration, Eydie Alyson combines seasoned comic timing, a solid voice and the pneumatic squeakiness of Betty Boop.

April Nixon, Licia Shearer and Sharon Young, who play Chiffon, Crystal and Ronette, respectively, belt out their Motown-influenced numbers in virtuosic harmony. S. Marc Jordan is suitably avaricious as Mr. Mushnik, the scheming florist who exploits Seymour, while John Bisom is a pelvic-thrusting stitch as the sadistic dentist who holds Audrey in his thrall--that is, until Seymour and his potted pal intervene. Todd Larsen deftly manipulates the flesh-eating Audrey II, while Tracy Coley gives the plant a soulfully stentorian sound that makes Barry White sound like a tenor.

Steven Landau's music direction is unobtrusively sure. Director-choreographer Sha Newman keeps this purely goofy, purely delightful production bebopping throughout.

EASY READER
Redondo Beach, California
September 24, 1998

The Civic Light Opera of South Bay Cities presents another hit musical at the Redondo Beach Performing Arts Center, and this time the choice is the wacky black comedy "Little Shop of Horrors" by Howard Ashman and Alan Menken.

Directed by Sha Newman, who has directed several other musicals at this venue, it's a picture-perfect production with great sets and costumes, a live orchestra, and likable stock characters. The Faustian plot is of course unrealistic as is typical of the America musical genre.

With its fanciful noir twist, this musical farce, which was first produced in New York in 1980 and later made into a movie with among others Steve Martin, continues to entertain. It drew spontaneous laughter and got a standing ovation at last Friday's opening event.

The unlikely setting is a flower shop on, of all places, Skid Row, where Seymour, a clumsy shop assistant (Scott Dreier), develops an exotic plant with a voracious appetite for human blood. The bloodthirsty plant promises Seymour fame and fortune if he'll feed it what it wants, and in a short time the devilish creature grows huge crocodile jaws and tentacle-like roots and branches. Customers and reporters flock to the store to see the plant, which Seymour has called Audrey II, and Seymour's material success gives him courage to court the other Audrey, the female shop clerk. He eliminates her sadistic boyfriend by feeding him to the diabolical plant.

But his vampire creation turns into a Frankenstein, and things soon get out of hand.

Yes, it's predictable but outrageously entertaining all the same.

The whole cast is a joy to listen to and watch. Indeed, especially memorable is the musical number "Skid Row Downtown" with the entire company.

A nerdy Scott Dreier has created a funny Seymour, and a squeaky-voiced Eydie Alyson turns in a great performance as the ditzy but cute Audrey, the object of Seymour's amorous advances, who just dreams of a tract home with a toaster and plastic on the furniture to keep it clean.

Lithe as a panther in black leather pants and jacket, a hilarious John Bisom portrays the cruel dentist as well as other roles with glee. He's every inch as good as Steve Martin who played the same role in the movie. Marc Jordan, who played Herr Schulz in "Cabaret" at this theater last spring, has returned as Mr. Mushnik, the owner of the notorious hot-house flower shop.

The gravely voice of the freakish monster belongs to Tracy Coley, while Todd Larsen manipulates its reptilian snout and octopus-like appendages with great skill.

However, as the irrepressible executive director and producer, James Blackman announced at the dinner party following the opening night performance, the real stars of the show are the three female dancers and singers April Nixon as Chiffon, Licia Shearer as Crystal, and Sharon Young as Ronette. In few shows do the backup singers take on such a prominent role, and the trio lives up to the challenge. With springy steps, these performers add real fervor and exuberance to the production, belting out their songs, shaking, twisting, wiggling and jiggling their hips around the stage in tightly choreographed movements. They're better than their counterparts in the movie version.

It's great to have access to a professional performance so close to home.

Although it's a by-the-book kind of production, there's a place for tradition, and with such a zany plot there's no need to try to lean farther over the edge.

The Beach Reporter
Manhattan Beach, California
September 24, 1998

LEADS MAKE 'LITTLE SHOP' DELIGHTFULLY FUNNY
By LEA STERLING

There's an old theatrical saw which warns actors of the perils of playing opposite children or animals, lest they be up-staged. In the case of Roger Corman's "Little Shop of Horrors," perhaps it should be expanded to include plants, particularly the carnivorous kind.

When a "strange and unusual" weed is the star of the show, with its booming voice and burgeoning hunger, it takes strong, talented actors not to be overwhelmed.

Thankfully, the Civic Light Opera of South Bay Cities' production of "LIttle Shop" has two exceptionally fine performers to fit the bill. Scott Dreier as Seymour and Eydie Alyson as Audrey.

Alyson starred in the original off-Broadway run of the show, reprising the role here with power and panache, displaying a phenomenal vocal range and bluesy style which brought cheers and applause from the standing-room-only audience.

She, and Dreier as well, excel at conveying the darker emotions in their numbers, especially the anger, shame and desperation of people caught with no way out. Her Brooklynese accent is right on, and her trademark squeak in moments of intense feelings is both funny and moving.

The lanky Dreier looks the part of the geeky flower shop clerk, complete with taped glasses and thrift shop wardrobe. His phrasing is very expressive and clear, even in the rapid-fire delivery of "Now," his duet with Orin, the diabolical dentist.

The song "Suddenly Seymour" is Dreier and Alyson's musical masterpiece. In productions elsewhere, this number has elicited giggles, but no one was laughing when they performed it. In their hands, it becomes a hot, torchy declaration of love and need, which climaxes when the diminutive Alyson climbs Dreier as if he were a tree.

John Bisom plays Orin (as well as several other supporting parts). His character is the one most blatantly a caricature, and he goes at it full tilt. His dentist's office is the incarnation of every dental-phobe's worst nightmare, set up as a literal torture chamber. The visual impact of the gory costuming and props in this scene caused groans as soon as they appeared.

S. Marc Jordan is charming as Mushnik, the elderly but still streetwise, florist.

Licia Shearer, April Nixon and Sharon Young are superb as the Motown-style trio of Crystal, Chiffon and Ronette. Their singing, diction and precisely choreographed movements make them a delight to watch. Without their so-called "backup" support, "Little Shop" would be much the poorer.

Tracy Coley, whose delicious bass provides the voice of Audrey II, and Todd Larsen, who does the unseen manipulation of the plant, together create an awesome alien for this spoof of '50s creature features.

Scenery (provided by Theatre Under the Stars) looks authentically skid row. Costuming (by The Theatre Company) is effective, particularly the sequined sheaths and beehive hairdos of the three urchin singers.

John Feinstein's sound engineering is crystal clear and the orchestra, under the direction of Steven Landau, is flawless.

In all its elements, "Little Shop of Horrors" feeds the audience with chills, thrills and laughter, not least the decidedly low-tech but nevertheless memorable special effect as the lights come up and audience members leave to go to their safe little homes.

Rave
September 20, 1998

There's no explaining it.

A story about a bizarre man-eating plant from outer space that intimidates its keeper, a nerdy flower-shop clerk, into seeking out victims to feed its blood lust--and this is funny?

It is when it's "Little Shop of Horrors," the classic spoof of old-time, Grade B horror flicks. And the Civic Light Opera of South Bay Cities' mounting of the 1960s musical is not only screamingly funny, it's also jam-packed with sensational vocal performances and some first rate comic acting.

There are even some clever (although low-tech) special effects thrown in for laughs.

Director/choreographer Sha Newman, who engineered previous CLOSBC successes ranging from "Cabaret" to "Seven Brides for Seven Brothers," has assembled an extraordinary cast of acting and singing talent and polished them to a high gloss.

Eydie Alyson is hilarious as the trashy but kind-hearted Audrey, and a vocal powerhouse besides. Moreover, her Judy Holliday-esque Brooklyn accent is right on the money, including when she sings--and how often does that happen?

She's nicely paired with Scott Dreier as Seymour, the socially inept but stalwart young horticulturist with the heart of gold. Everything about Dreier is perfectly in character, from his slouchy, downcast posture to his shirt-tails-out wardrobe and taped glasses; and he adds a fine vocal style besides.

John Bisom hams it up to great effect as Orin, the sadistic dentist with more than a touch of X-rated Elvis about him, and S. Marc Jordan charms as the canny florist, Mushnik.

Ensemble cast members are overlooked in many musicals, but it's impossible to miss the three '60s-styled "urchin" singers dubbed Crystal (Licia Shearer), Chiffon (April Nixon) and Ronette (Sharon Young).

Not only are they outstanding singers, with diction that leaves none of Alan Menken's hilarious lyrics to the imagination.

They're also superbly tuned-in to '60s vocal styling, hand and dance movements as well--and not the least bit shy abut playing it with a generous helping of tongue-in-cheek.

Moreover, their parade of wardrobe changes (thanks to wardrobe designers David Profeta and Deanne Johnson), from psychedelic hip-huggers to sequin sheaths and sky-high wigs, are a rib-tickling visual feast.

Yet one of the best voices in the cast comes from a player who barely makes an appearance: Tracy Coley, whose basso prof alternately chills and delights the voice of Audrey II.

They're flawlessly accompanied by an orchestra under the baton of Steven Landau, and thanks to John Feinstein's sound engineering, the audience gets treated to crystal-clear vocals and dialogue.

This is clearly not a show for the 9-year olds (or the 90-year olds) in the family, but it's one that will provide most theatergoers an outrageously good time.