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Little Shop of Horrors

When mild-mannered flower-shop employee Seymour Krelborn discovers a small venus-flytrap-like plant during a solar eclipse, it’s no surprise that he becomes fascinated by it. As consumed by unrequited love as he is, it’s also hardly a surprise that he names it “Audrey II,” after his coworker and infatuation. Surprise comes, though, when it quickly becomes apparent that Audrey II hungers for a fertilizer more macabre than manure: human blood. Suckling at Seymour’s pricked finger, the plant grows larger everyday, eventually demanding more than just a few drops of plasma. Audrey II convinces a reluctant Seymour to only feed it terrible people who, according to the plant, “deserve to die.” This happens to include Audrey’s sadistic dentist boyfriend, Orin Scrivello. But as the corpses pile up and Seymour deals with the ethically questionable source of his fame and newfound romance with the human Audrey, he must decide whether he should take a stand or continue to nurture the plant’s hunger and ominous ambitions.

Little Shop of Horrors is anchored by Alan Menken’s jubilant R&B score, which offsets the grim onstage deeds with doo-wop and Motown-tinged tunes. Three female vocalists named after ’60s girls groups (Ronette, Crystal, and Chiffon) serve as a sort of Greek chorus, providing a running commentary on the proceedings that begins with the titular swinging ditty. Later on, they join in on “Dentist!,” Orin’s boastful ode to being “the leader of the plaque” and his career in causing pain. In “Somewhere That’s Green,” Audrey admits to a dream of running away to the suburbs with Seymour. “Feed Me (Git It)” is arguably the musical’s best-known song, wherein Audrey II reveals “her” ability to speak and makes the sweet-tempered shopkeep an offer he can’t refuse.