Amy Hodge’s adaptation of Little Shop of Horrors at the Crucible Theatre offers moments of charm and creativity, but its overall execution struggles to match the brilliance of its source material. While the production delivers flashes of hilarity and some outstanding performances, it falters in establishing a cohesive and impactful directorial vision.
At its core, Little Shop of Horrors thrives on its irresistible music and witty lyrics by Howard Ashman and Alan Menken. The score remains a highlight, with numbers like “Suddenly Seymour” and “Feed Me” showcasing both the melodic genius of Menken and the sharp, dark humour of Ashman’s writing. However, this production is occasionally undermined by diction issues that render some lyrics inaudible, detracting from their narrative and comedic impact.
The cast delivers mixed but often commendable performances. Georgina Onuorah as Audrey offers a strong vocal performance, infusing her songs with pathos and charm, while Colin Ryan captures the awkward, lovably pathetic essence of Seymour. Wilf Scolding’s portrayal of Orin, the sadistic dentist, is a comedic standout, embodying the character’s manic energy with scene-stealing gusto.
Sam Buttery as Audrey II (the Plant) impresses vocally, but the choice to cast a human actor rather than employ a traditional puppet is problematic. While it’s a bold artistic decision, it feels underdeveloped, leading to staging choices that often appear awkward and undercut the Plant’s menacing presence. This approach lacks the eerie surrealism that a puppet might have delivered, creating logistical and tonal inconsistencies. None of this, however, detracts from the brilliance of Buttery’s performance.
Visually, the production veers towards excess. Georgia Lowe’s set, while vibrant, often competes with busy choreography by Jade Hackett, Jessica Hung Han Yun’s lighting, and Matt Powell’s video design. Rather than complementing one another, these elements frequently vie for attention, creating a cluttered stage that dilutes the focus and emotional impact. Some lighting and video sequences, intended to add energy or heighten absurdity, instead feel distracting or misaligned with the tone.
The decision to have the cast use British accents adds an enjoyable freshness to the dialogue and songs, yet the production does not fully commit to adapting the show’s cultural framework. Retaining Americanisms and prop dollars creates a discord that could easily have been resolved with minor script adjustments.
While Little Shop of Horrors is famed for its balance of absurdity and dark comedy, this production struggles to anchor its zaniness in a credible world. Without a clear sense of reality to ground the story, the shifts into the more ridiculous aspects of the narrative feel less impactful. As a result, the comedy is inconsistent, with some scenes—particularly those involving Orin—landing brilliantly, while others fall flat.
Ultimately, this adaptation of Little Shop of Horrors is an enjoyable evening of theatre, buoyed by the strength of its source material and several excellent performances, particularly from Wilf Scolding and Sam Buttery. However, the production’s cluttered staging, uneven tone, and missteps in reimagining Audrey II prevent it from fully achieving its potential. Amy Hodge’s vision is ambitious, but it lacks the precision needed to blend the absurd, the hilarious, and the horrifying into a seamless whole. Fans of the show will still find much to enjoy, but this iteration never quite captures the magic of what makes Little Shop of Horrors a cult classic.
Little Shop of Horrors plays at the the Crucible in Sheffield until Saturday 18th January 2025.
Photography throughout from Manuel Harlan.
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