The air crackled with anticipation as the iconic melody of ‘Skid Row (Downtown)’ filled the Crucible Theatre. Little Shop of Horrors has taken root in Sheffield, promising audiences laughter, horror and a whole lot of green. Having devoured audiences for nearly five decades across Off-Broadway, the West End, and Paris, Little Shop of Horrors continues to feast on our imaginations. The Sheffield Theatres production (directed by Amy Hodge) adds another chapter to its illustrious history, bringing the bloodthirsty plant to a new generation of theatregoers.
Georgina Onuorah’s portrayal of Audrey, the sweet flower shop girl, is equally heartwarming and heartbreaking. Her strong yet soothing vocals, especially in ‘Somewhere That’s Green’, beautifully showcase her character’s vulnerability. However, it was Audrey II who stole the show. Sam Buttery, who portrays the carnivorous plant, displays an exceptional performance.
From Audrey II’s initial, innocent chitters to its hungry roars, Buttery’s skillful acting combined with ingenious puppeteering (Puppet Designers and Directors Daisy Beattie and Seb Mayer) perfectly encapsulates the plant’s menacing and humorous nature. The moment when Audrey II eats Seymour was absolutely terrifying. The supporting cast, like Michael Matus as Mr Mushnik and Wilf Scolding as Orin, provide much-welcomed comic relief with their hilarious songs and antics.
The costume design for Little Shop of Horrors is both creative and effective. Seymour’s evolution from a meek florist to a fame-hungry businessman is mirrored in the gradual wardrobe change of the trio (Chiffon, Crystal and Ronette). Their outfits in ‘The Meek Shall Inherit’ become increasingly extravagant, transitioning from simple, all-white ensembles to more glamorous attire – adding gold jewellery, sequined jackets and even fans made of cash. Even Audrey II experienced a sartorial transformation, with its costumes becoming more elaborate as the plant grew in size and power.
I also enjoyed the stage direction the show took. The innovative use of a revolving stage elevated choreography and acting, adding a dynamic layer to the production. The rotating set created a sense of constant energy, allowing the cast to fully utilise the space. I felt like this was particularly effective in ‘Skid Row (Downtown)’ where the stage transformed into a bustling cityscape, capturing that energetic beat of the song. A towering fabric backdrop, casting dramatic shadows, was also used early on to foretell the sinister turn the play would take, setting the tone for a dark and suspenseful journey ahead.
The lighting design was impressive. The use of smokey, cool-coloured lighting, specifically in the reprisal of ‘Somewhere That’s Green’, created a somber and haunting atmosphere that amplified the tragic moment of Audrey’s sacrifice. I appreciate this attention to detail as these subtle touches heighten the emotional impact of the scene.
Little Shop of Horrors is a timeless classic and the Sheffield Theatres Production is a testament to its enduring appeal. Under Hodge’s direction, this show is a triumph. With its captivating performances, stunning visuals and atmospheric lighting, this musical is a must-see for longtime fans and newcomers alike.
Rating: ★★★★☆
Little Shop of Horrors is playing at the Crucible until January 18th 2025
