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| Little Shop of Horrors |
Over the past four seasons, The Long Beach Landmark Theater has built a reputation as "Long Beach's best kept secret." In a town where it feels like there's local theater on every corner, they have done an exemplary job of standing out by challenging themselves to put on shows that not only have great casts but also live orchestras. That's why their recent production of Little Shop of Horrors feels fitting if just for the image it presents. Many have likely passed by the First Congregational Church without knowing what wonders lie inside just like many pass by Mushnik's Flower Shop and never think to buy a flower. In both cases, all it took was a singing, dancing plant from outer space to get the whole town interested. And the best part is that once you're in the door, you're in for a good time.
While the musical premiered during an era of 1950's pop culture nostalgia, there is a sense of woe in what it chose to draw influence from. While the soundtrack is an infectious blend of doo-wop and rock, the characters are melancholic and come from archetypes that have been neglected by society. This includes the Judy Holliday-style Audrey (Amanda Webb), a trio of singers (Courtney Kendall, Teanna Vick, Yunga Webb) who serve as muses observing from street corners, and the nebbish orphan Seymour (Matt DeNoto). As the song "Skid Row (Downtown)" would suggest, it's the place people go when their life's a mess. It's the introduction to the story's subversion of genre, adding a sense of the desperation that these characters will obsess over for the remainder of the show. What wouldn't they do to escape this dull lifestyle, to have direction in their lives?
Along with borrowing influence from the same b-movies that likely helped shape the 1960 Roger Corman movie this was based on, it's a Greek tragedy at its heart. Every character wants to escape Skid Row, to live a suburban life, not unlike other nostalgic musicals like Grease and Hairspray. Only the world of Little Shop of Horrors can't afford to even visit for an afternoon. That's in part because Seymour works at Mushnik's Flower Shop, where they can go a whole day without a single sale. Nobody looks in, leaving them to be ignored as windows outside break in a constant state of chaos as men flash innocent bystanders and public drunkenness is a daily occurrence. It's not a pleasant world, but the show manages to emphasize the humanity inside by slowly giving them purpose. Some journeys will end happier than others, but as anyone who has so much as seen a photograph from the show will tell you, it's all about Audrey II.
The price of admission alone is worth it to witness the puppetry of Audrey II: a prop that gets so big that it needs someone to control it (Sean Balin) and voice it (George Carson). The show watches it grow from a seedling, which even at that stage alludes to the magic that lies in the second act. As a small potted plant, it moves with such curiosity, like a baby witnessing the world for the first time. By the second act, it has consumed a quarter of the stage, creating a surreal vision for the audience as Audrey II yells, comically, phrases like "Feed me!" The plant has consumed Seymour's life and is considered his gateway to the freedoms he desires, and yet it's a horrific beast. The team who put it together definitely went the extra mile to make it work within the context of the absurd story. Even when it gets a chance to sing, it's a thing to behold. Still, the sign that Audrey II was a labor of love comes when the cannibalistic plant begins eating cast members whole. Whereas most could get away just chewing on the poor victim, the audience sees actors disappear down the gullet.
Thankfully, the show around this excellent prop is just as engaging. DeNoto brings a dynamic to Seymour that ranges from comic to tragic. He is a man who wanted a normal life but gets riddled with a tale of obsession, of wanting to use his newfound media coverage to escape the miseries of life. He is an orphan looking for a place in a world where he cannot even walk downstairs without falling headfirst. DeNoto's physicality makes the schlockiness of the plot go down easier, as he tries to escape his limitations to be respected. Similarly, the trio of singers who perform like a girl group who have been together for years is the muses guiding the audience with perfect harmonies and witty banter as they populate the sides of the stage. Audrey is just as tragic, if just because her history of abusive boyfriends makes it hard for her to appreciate good guys. In one of the show's many tearful moments, she sings "Somewhere That's Green" as she imagines a suburban form of happiness. As comical as her reference points are (she dreams of a big 12 inch TV screen), the reality that she may never get it hurts the audience. It's a feeling that keeps coming back and adds weight to the humor and absurdity of the show.
Little Shop of Horrors has continued to resonate in large part because it's more than one thing, and The Landmark Theater knows it very well. As much as the stage is minimalist to better emphasize Audrey II, it allows the ambitions of the characters to shine through. Even the larger than life ones, such as The Wild One-style rebel Orin Scrivello, D.D.S (Jay Dysart), have humanity underneath their caricature, and a belief that the world can be a better place. The show is about escaping the miseries of the lower-class at any price, and it does so with winking pastiches to the low-lives of yesteryear. It's a 20th-century version of a Greek tragedy crossed with Invasion of the Body Snatchers. Thankfully there's nuance and subtlety to every performance here that makes them shine, and it really does help to bring forth the talent of this cast and crew.
During intermission, producer Mark Wheeler gave a speech about how he'd love for the word to get out about The Long Beach Landmark Theater. After seeing a performance there, it's easy to see why. Not only is it a great story, but to witness the performances and props in action is to witness the capabilities of theater from those passionate enough to tell the story. There's so much cheekiness and fun going on that there was even a "DON'T FEED THE PLANTS" sign in the bathroom. For those who want to experience a goofy, fun musical with several of the catchiest tunes (sometimes sung by a plant), then this show is for you. For everyone else, it's still a fun time that never lets up. It may be supremely silly, but it's also empathetic in surprising ways as well.
For more information on future showings, please visit here for more information.
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