Don’t Feed the Plants!

Little Shop of Horrors – Citadel Theatre

Under the superb creative guidance of director Matthew Silar and musical director Isabella Isherwood, Citadel Theatre has a bonafide hit to open their 2022-23 season. This company recently produced several wonderful productions, including the Jeff Award nominated drama, “Outside Mullingar” and a terrific production of the musical, “You’re a Good Man, Charlie Brown.” This new production confirms Citadel as one of Chicagoland’s finest theaters. In this current campy and impressively produced presentation, all the humor, satire and wit radiates from this cult classic. Audiences already familiar with the musical, as well as those who are new to its hilarious, sci-fi love story, will be singing the praises of this show-stopping production.  

Audrey, Seymour, Orin, Mr. Mushnik and all the other crazy characters from this 1982 comic book/horror/rock musical are back again in Lake Forest. Based upon Roger Corman’s low-budget, darkly humorous science fiction film from 1960, composer Alan Menken (“Beauty and the Beast,” “Sister Act”) and his writing partner, the late, great writer/lyricist Howard Ashman, initially created this cult classic for Off-Off-Broadway. Due to its unprecedented popularity, it eventually moved uptown to an Off-Broadway venue, and then finally made its way in 2003 onto the Great White Way. Then, after a National Tour, the popular musical was once again revived Off-Broadway in 2019, where it’s still running today. In addition, the show was also adapted for the silver screen and became a popular 1986 movie musical, starring Steve Martin, Rick Moranis and Ellen Greene. A favorite, wherever and whenever this satirical Motown musical is produced, “Little Shop…” is always huge a hit. Citadel Theatre’s new production is no exception.

Seymour Krelborn is a likable, nerdy young employee at Mr. Mushnik’s Skid Row Flower Shop, in New York. An orphan, whose life seems to be going nowhere, he has a secret crush on Audrey, his beautiful, buxom, red-headed co-worker. Audrey, however, is a woman with a shady past and very low self-esteem. As a result, she’s become involved with a sadistic dentist named Orin Scrivello, who bullies, berates and beats her up, much to everyone’s horror and disapproval. 

In a trio of opening numbers (“Little Shop of Horrors,” “Skid Row” and a little ditty called “Da-Doo”) we learn that Seymour was walking through the gardening district one day when, during a total eclipse of the sun, a new and unusual plant suddenly appeared before him. The proprietor sold him the rare, but sickly little flytrap. Seymour then brought it back to Mushnik’s Flower Shop, where he secretly nursed it back to health (“Grow For Me”). When Seymour finally put it in the shop window, the plant, which he’s affectionately named Audrey II, begins to draw the attention of hundreds of customers. Business suddenly takes off and Seymour becomes a celebrity. The only problem is that the plant thrives on blood.

Meanwhile, Audrey’s boyfriend is becoming more and more violent and abusive. Audrey II convinces Seymour that Orin would make perfect plant food. In secretly feeding the deviant dentist to the plant, Seymour could rid Audrey of her sadistic suitor and, just maybe, have a shot at romance with her, himself. From then on complications develop and one crime leads to another. Soon there’s no stopping Audrey II and its cannibalistic, bloodthirsty takeover of the world.  

The musical features a toe-tapping pop/rock score that mimics the bopping, doo-wop sound of the 60’s. Menken’s catchy, uptempo numbers, with witty Award-winning lyrics by Howard Ashman, include two soulful ballads: Audrey’s incomparable “Somewhere That’s Green” and her triumphant love duet with her co-worker, “Suddenly Seymour.” While these two songs can truly stand on their own, everyone in the cast has his own musical moment. In particular, it’s the engaging and entertaining trio of the Street Urchins, Crystal, Ronnette and Chiffon, who steal the show as a combination of narrator, Greek chorus and Supremes-like backup group.

Portraying these three talented, lovable street urchins are the magnificent trio of Sabrina Edwards, Isis Elizabeth and Ania Martin. Sharing the stage with the main characters, they enchant with so many wonderful, tongue-in-cheek, faux Motown melodies, such as their impassioned renditions of “Don’t It Go To Show You Never Know,” “The Meek Shall Inherit” and the dramatic finale, “Don’t Feed the Plants.” Aaron Reese Boseman, who provides the rich, velvety voice of Audrey II, pops up in the ensemble numbers, but remains mostly invisible (until the curtain call). However, Boseman’s vocal presence resonates throughout the production. 

But this show truly belongs to two impressive, multitalented young actor/singers. Audrey is played by a Chicago newcomer, the glorious songstress and actress, Dani Pike, while talented Sam Shankman, who impressively played the title role in Drury Lane’s production of “You’re a Good Man, Charlie Brown,.” portrays Seymour. Together this talented twosome get to show off their accomplished acting and singing, and they’re exquisite in every song, every romantic moment and in each and every corny, but comic piece of schtick. Their chemistry shines strongly throughout, playing off each other with pitch perfect timing, making this storybook romance as real as it gets in a cartoon. 

Ms. Pike is funny, but far more natural and underplayed than previous Audrey’s. She’s sweetly moving as the naive girl from Skid Row, who thinks she’s undeserving of love and kindness. But when she sings Dani fills the theatre with her plaintive “Somewhere That’s Green” that almost stops the show with her earnest sincerity. Dani uses her big voice to its full advantage, while sporting huge hair, tiny skirts, high heels and low-cut blouses. Mr. Shankman is everything Ashman and Menken could’ve envisioned as Seymour. With his wide-eyed, youthful looks, his honest delivery of every line and lyric and his superb musicality, Sam makes a most lovable leading man.

One of Chicago’s finest character actor/singers, Alan Ball, has been enjoyed in so many different roles at practically every theater in Chicago. Now he’s added another perfectly-tuned role to an already impressive resume. Alan Ball’s Mr. Mushnik is right on the money. The actor is spot-on in his portrayal of this temperamental Jewish Skid Row florist, who keeps a sharp eye on his business while offering a little compassion for his two young employees. Mr. Ball is also a gifted singer and makes the most of ensemble numbers, like “Closed for Renovations,” and particularly his paternal patter song, “Mushnik and Son.” 

Philip C. Matthews, who was recently seen in Citadel Theatre’s outstanding production of “Picasso at the Lapin Agile,” creates an altogether smarmy, savage, overbearing Orin Scrivello, DDS. His autobiographical solo, “Be a Dentist!” is sung with ideal rapture and relish. Mr. Matthews offers both a sadistically  satisfying character and a magnificent gift for song. Watch for Philip in every ensemble scene, as he also portrays a whole variety of minor characters, from a wine-swilling street bum to a slick agent from William Morris, and he does so with whimsical delight.

Lexie Bailey’s stylized, synchronized Motown choreography is perfect. It faultlessly complements Matthew Silar’s skill with this kind of broad, whimsical comedy. Silar’s understanding of how to guide the cartoonish style of theatrical work is precise and efficient. He extracts every drop of humor from his cast, nicely guiding their well-paced performances. Matthew’s staging makes wise use of Eric Luchen’s detailed, adaptable scenic design. Isabella Isherwood’s musical direction, showcasing all those tight harmonies of the era, is spot-on, and her backstage accompaniment is excellent, if sometimes a bit overpowering. 

An array of colorful, period-perfect costumes, by Cindy Moon provides an additional layer of fun to this production. Every time Crystal, Ronnette and Chiffon enter the stage they’re dressed in an entirely new creation. Perhaps the most impressive technical work comes from the way Michael Dias brings life to a variety of colorful, carnivorous puppet creations that are the various incarnations of Audrey II. The puppets are the creation of theatre artist Matt McGee; and, with each appearance, convinces theatergoers that the diabolical plant is actually growing larger throughout the musical. Bringing these puppets to life is artistry; and the puppeteer for this frighteningly funny plant from outer space adds a special brand of horror to the show.

Citadel Theatre, under the capable artistic direction of Scott Phelps, keeps producing some of the most consistently enjoyable musical, comic and dramatic productions to be found in Chicagoland. Just in time for Halloween, audiences of all ages will definitely eat up this playful, professional production of Alan Menken and Howard Ashman’s clever, captivating science fiction musical fare. An exciting, expertly crafted and creatively directed production, “Little Shop of Horrors” is sure to be remembered and talked about for years to come. It features some of Chicago’s finest talent performing at the top of their game. In addition to a thoroughly entertaining script and an unforgettable musical score, audiences will leave the show with four words throbbing in their brains: Don’t Feed the Plants!

Highly Recommended

Reviewed by Colin Douglas

Presented September 15- October 16 by Citadel Theatre, 

300 S. Waukegan Rd., Lake Forest, IL.

Tickets are available in person at the box office, by calling 847.735.8554 or by going to www.citadeltheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com