Many may associate the cult-classic Little Shop of Horrors with its 1986 film adaptation starring Rick Moranis, Ellen Greene, and Steve Martin to name but a few (even Bill Murray makes a guest appearance!) The film was based on the 1982 off-Broadway musical of the same name and was well received by critics and audiences alike. Of course, most forget the original film which started it all. The Little Shop of Horrors (1960) written by Charles B. Griffith and directed by Roger Corman is a horror movie and farce about an inadequate florist’s assistant who cultivates a plant which feeds on human blood!

Fast forward fifty plus years and the musical is still going strong, attracting audiences across the globe. This time it was the turn of Kent Academy of Musical Theatre (KAMT). Founded by Jo Mason in 2020, KAMT is a part-time musical theatre academy for all ages, from toddlers right up to adults of any age! They currently run classes in Maidstone and Cranbrook with ambitions to branch out across the county. Considering the academy was founded during a worldwide pandemic, it has gone from strength to strength during its first two years, Little Shop of Horrors being the first production presented by the academy’s adults. Founder and director Jo Mason had been inspired by professional performances of the show in London, most recently Regent’s Park’s contemporary adaptation.

Often, it is more of a challenge to put on a production with a group of adults than with a group of children. Adults take part in amateur theatre as a hobby, something they’re passionate about and want to continue improving at, but something which comes alongside potential parenting, full time jobs and just ‘life’ in general, so it’s always a thrill to see a group of adults who are clearly dedicated to their craft and who have worked so hard to pull a piece of theatre together. It is almost unfair to label this production ‘amateur.’ Although the definition is actually ‘someone who engages in a pursuit on an unpaid basis,’ it has come to mean that an individual is incompetent at something. For example, you might say Little Shop of Horrors’ hero Seymour is an ‘amateur florist’! But this production certainly pushed amateur boundaries.

It is great to see an almost full auditorium at the Glassbox Theatre. It is more important now than ever that audiences support local theatre and it is clear that this audience got more than they bargained for, hearing some wonderful comments and fabulous feedback from the crowd in the interval and beyond. It is clear from the get-go, as the piece opens with the well known ‘Little Shop of Horrors’ title song, that the Urchins, the Greek chorus if you will, are extremely strong vocally. Not missing a note, the harmonies work beautifully, and each Urchin performs their ‘sassy’ role to a tee with plenty of attitude! It is clear not all Urchins are completely comfortable with some of the choreography, but this is made up for in style and voice! The Urchins are certainly at their strongest when ‘setting the scene’ vocally, whether it be as a group or scattered around the stage to portray a time or place.

The set is really striking and the scene changes slick with simple but effective changes as the production progresses…a light on here, a dentist’s chair there and of course, the most obvious change being the ever growing, man-eating plant! All puppets are visually outstanding and the shock and laughter from the audience as the plant chomps its first victim is worth the wait! The costumes have been modernised, with the Urchins in khaki green and black, the dentist in ripped jeans and tattoo sleeves and Audrey has a look of Sandra Dee circa 2022!

There are a few directorial choices which really hit the nail on the head in this production. The first happens during ‘Somewhere That’s Green,’ beautifully sung by Laura Shannon as Audrey. As she continues into the song, we see her don an apron, as if travelling into her own daydream, particularly poignant as she undoes her cast from an arm broken by her nasty dentist boyfriend, Orin. A piece of artificial grass is then rolled out in front of her, unintentionally I think, causing a few giggles, but we are transported with her, into her ideal future. Another ‘different’ take on a musical number is spotted during ‘Suddenly Seymour,’ usually put across as a simple, lovey-dovey song. Instead, although still romantic in parts, we see Audrey and Seymour clearly getting a little hot under the collar as he pulls her blouse from off her shoulder and pins her (gently!) against the wall! Although not expected, we see the sexual tension between the two and it somehow works despite being placed in the middle of a romantic duet! Most productions have their plant’s voice offstage, so it was a surprise to see the plant ‘brought to life’ as a female diva, entering through the door of the florists and interacting with Seymour! This worked effectively and made the plant seem somehow even more eerie and domineering, no longer just a plant but something even more ‘alive’ and capable!

This production was extremely well cast and, aside from a few sound issues, it could not be faulted. We were in great hands with Laura Shannon (Audrey), Ivan Collis (Seymour) and Paul McLaren (Mushnik) from the outset with Ivan Collis putting on an outstanding performance as Seymour, a very consistent performer with great comedy timing and a strong voice to boot. All other roles, ensemble and dancers were incredibly strong and certainly weren’t missed in the action.

This was a fantastic production which thoroughly deserved the standing ovation it received and I’m already looking forward to KAMT’s next production, Calendar Girls, which will be performed on Saturday February 11^th, 2023, at the Glassbox Theatre.

Fore more information about KAMT and how to get involved please head to https://www.kamt.co.uk/ or find them on Facebook (just search for Kent Academy of Musical Theatre).

Glassbox Theatre, Gillingham
Saturday April 9th, 2022
Book & Lyrics: Howard Ashman
Music: Alan Menken
Director & Producer: Jo Mason
Vocal Coach: Fiona Lussier-Foy
Choreographer/Dancer: Millie Judd
Costumes: Jo Mason
Props: Jo Mason
Light & Sound Technician: Jack Gschaider
Set: Set for the Show
Stage Manager: Nick Bower
Stage Crew: Emma Sawyer, Darren Coleman
Cast Includes: Laura Shannon, Ivan Collis, Paul McLaren, Will Coote, Jenny Soto-Briley, Emma Sackett, Natalie Kitts, Maddie Lambley, Molly Dobson, Georgia Page, Suzanna Byles, Lindsey Simpson, Grace Couch, Eden Moody, Emma Bond

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Working with Get the Chance, New Theatre Cardiff is offering  two free tickets to Steve Backshall’s Ocean on Sunday 24 April at 6pm, interpreted by Tony Evans.

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(4.5 / 5)

Jim Cartwright originally wrote The Rise and Fall of Little Voice with Jane Horrocks in mind for the starring role. Horrocks had just appeared in Cartwright’s acclaimed debut hit, Road and so Cartwright had witnessed her perfectly mimicking the likes of Edith Piaf, Judy Garland, and Shirley Bassey throughout their time together at rehearsals, at the theatre etc. The story of a painfully timid girl living with her brash and drunken mother and only able to express herself through her uncanny impersonations of her favourite singers, made Horrocks a star overnight. The production at the Cottesloe Theatre, London (now the Dorfman) was an instant success and did no harm at all to the reputation of little-known, young director, Sam Mendes! There have been several revivals since and of course, a film adaptation also starring Jane Horrocks in 1998.

This revival certainly does not disappoint; the only issue with this particular production being a technical one. As the play begins, we hear music from an old record player, Mari, and daughter Little Voice, conversing over it. At first, I assume the idea is that the music’s drowning out the sound of their voices, the title character’s quiet, mousy voice exaggerated. However, as the piece unfolds, I struggle to catch some of the dialogue and hear other audience members speak to staff about the same problem in the interval. Luckily, this does not take away too much from the rest of the production and I have a thoroughly enjoyable evening at theatre.

As the audience take their seats the curtain is open and we see a small, two-up/two-down house; clearly unkempt and unclean and somewhat dilapidated, perhaps to mirror their disorderly lives. Mari, a single parent who clearly enjoys a drink, a party, and a few men, is portrayed superbly by Shobna Gulati, who most will recognise as having played Anita in dinnerladies and Sunita in Coronation Street. For a start off, Gulati looks fantastic for her 55 years and stuns in iconic fashions from the nineties…leopard print, mini-skirts, sequins, and fishnet tights! This is such a well-written, complex character; fun-loving, sexy, brash, harsh, angry, emotional! Gulati’s comic timing is spot-on, and she gets across the gritty stuff beautifully as well. The character’s use of the English language also provides for lots of giggles with dialogue such as ‘you don’t know nothin’ about electrickery, do ya?’ and ‘you can imagine me feelin’s on signin’ marriage register… Mr. And Mrs. F. Hoff’! Cartwright’s script is certainly memorable and with its working-class backdrop, certainly has a feel of Willy Russell to it.

The set is highly effective, the house unmoving with only the curtain coming down and a simple, flashy archway representing Mr Boo’s club lounge where Little Voice will eventually perform, forced on by the sleazy, money-chasing Ray Say, played perfectly by Ian Kelsey. Also clever is the portrayal of the house fire in Act 2, brilliantly created by only the use of onstage smoke, sound effects and lighting. There is no questioning the event unfolding despite the absence of actual fire. LV spends most of her time in her little bedroom upstairs playing her records, surrounded by posters of Judy Garland etc. and a photograph of her late father, from whom she clearly gained her love of music. Mari spends most of her time downstairs, banging the ceiling with a mop handle to discourage LV’s playing and stringing along her ‘friend’ Sadie, brilliantly played by Fiona Mulvaney. A seemingly simple part whose dialogue mostly consists of the word ‘okay,’ Mulvaney provides numerous comedy moments; chugging mouldy Cornflakes from the box, dancing to the Jackson 5 and ‘vomiting’ whilst stood looking directly into the audience!

Finally, praise must go to Christina Bianco as Little Voice herself. Despite Bianco being in her forties and American, she plays the young, Northern lass to a tee from drooping around the house in her pajamas to her Pygmalion style transformation to a starlet in a gorgeous gown. And her impersonations are impeccable! Close your eyes and you are at a Judy show, a Cilla show, a Bassey show, sitting with the President whilst Marilyn sings him Happy Birthday! Bianco’s range, tone, and ability to mimic are outstanding!

The Rise and Fall of Little Voice continues its UK Tour on April 25th at the Theatre Royal, Brighton and finishes on July 16th at the Everyman Theatre, Cheltenham. Head to the website to book your tickets:

https://littlevoiceuk.com/

Theatr Clwyd, Mold
April 19th-23rd, 2022

Cast & Creatives:

Little Voice: Christina Bianco
Mari: Shobna Gulati
Ray Say: Ian Kelsey
Billy: Akshay Gulati
Sadie/Understudy Mari: Fiona Mulvaney
Mr Boo, u/s Ray Say & Phone Man: William Ilkley
u/s LV & u/s Sadie: Anna Hale
Phone Man, u/s Mr Boo/Billy & Resident Director: James Robert Moore

Writer: Jim Cartwright
Director: Bronagh Lagan
Set & Costume Designer: Sara Perks
Lighting Designer: Nic Farman
Sound Designer: Andrew Johnson
Musical Supervisor & Associate Sound Designer: Eamonn O’Dwyer
Associate Costume Designer/Supervisor: Sarah Mercade
Production Manager: Felix Davies
CSM: Terry Dickson
DSM: Karen Habens
ASM: Suzi Kelly
Tech Swing: Jade Hicks-Williams
Associate Lighting Designer/Relighter: Joseph Ed Thomas
Fit-Up Carpenter: Chris Bewers
Head of Wardrobe: David (Daisy) Morgan
Production Coordinator: Ollie Hancock
General Manager/Assistant Producer: Chris Matanlé
Co-Producer: Tiny Giant Productions
Co-Producer: Neil Gooding Productions
Co-Producer: Bonnie Comley and Stewart F. Lane
Producer: Glass Half Full Productions
Producer: Katy Lipson for Aria Entertainment

Running Time: 2 hours (including interval)

The performance was preceded by an announcement Northern Broadsides had needed to bring in two actors at extremely short notice because of Covid. This is a difficulty companies are going to face for some time to come. However, I didn’t feel it was just the pandemic which weakened this production. Its main problems were a lack of enthusiasm for Shakespearean verse and a belief the play’s comedy could be improved. If you are going to do As You Like It, though, I think you need to relish the poetry in the lines, the situations and the setting. You need to accept there will be long speeches telling stories, and that complex ideas will be introduced in imagery. You have to tread warily if you think you can improve on Shakespeare’s comedy, or think you have more to say about the human condition than he does.

So, the fact that the stand-in Duke had to read his lines was less intrusive than the TV show commentary introduced into the wrestling scene. As the wrestling itself was well staged and exciting, the commentary was unnecessary. Then there were distracting asides throughout the performance using modern English. They interrupted the flow of the action and the establishment of the its imaginary world. There was a conversation with the audience at the beginning of the second half (why?). There was additional cross-dressing, which weakened the humour emerging from Rosalind’s disguise, rather than complementing it. The ‘Shall I compare thee..’ sonnet was added in to the ridiculing of Orlando’s scribblings for a quick laugh. Despite the difficulties and the ingenuity involved in bringing four couples together for a simultaneous marriage at the end, they danced off with different partners.
Some of the cast managed the verse well, finding expressive intonations and getting into role easily, whilst others struggled, rushing what they had to say or grinding out their speeches. At times it was easy to follow and appreciate what was being said – Touchstone’s final speech was an excellent example of making the most of the lines, and he made the audience laugh with it – but all too often it was difficult to disentangle what was being meant. For example, far too much of what Jacques said was lost and this meant the character never established himself. Considering how vital and original Jacques is – he’s one of Shakespeare’s great wordsmiths – this was more than a pity. Overall, I thought the supporting cast led by Celia (Isobel Coward) sustained the play with funny cameo appearances and the business that surrounded them. They appeared comfortable in what they were doing and saying; in contrast the principals were unsteady.

For me, Rosalind (EM Williams) spoke too quickly and too emphatically. Every line was accompanied by an expression or a gesture. She was tense, almost angry throughout and whilst she was always interesting to watch she was also demanding to listen to. I felt like saying ‘relax’. She needed to stop trying to impress and simply win the audience’s sympathy because, although Rosalind does win through in the end, hers is no foregone conclusion: her success and the happy ending is not just the result of energy and aggression.

Orlando (Shaban Dar) was too slow and earnest although the character, with his confused attempts at expressing himself emotionally, can be highly amusing. There was little of the chemistry that can come out of a relationship between a duffer and a high achiever when he was with Rosalind. The comedy of the scene in which he, as a wholly unreconstructed heterosexual has to make love to the supposed boy, Ganymede, in order to practice for the real thing, was lost and with it Shakespeare’s clever exploration of gender and appearance.

Jacques(Adam Kashmiry) turned his back on the audience too many times and had a limited range of gesture, repeatedly stretching out his hands to make his point. I didn’t see what having him wear a skirt added to his character. He came across as troubled and sad rather than brilliant and artificially melancholy. The audience enjoyed the way the other courtiers fleshed out his ‘All the world’s a stage..’ but nothing was done with the very last act of all –

second childishness and mere oblivion,/Sans teeth, sans eyes, sans taste, sans everything

• which is a sixteenth century description of senile dementia and could, therefore, be made quite topical today.

Touchstone (Joe Morrow) established a rapport with the audience by his exuberance and by speaking clearly and confidently but I thought the actor was miscast. He was not a fool with a wit –

as dry as the remainder biscuit/After a voyage

• so there was no real explanation for Jacques’ fascination with him. His seduction of Audrey, which represents a realistic contrast with the romantic goings-on everywhere else in the forest, didn’t make a lot of sense, either.

The backdrop to the play’s plot is the contrast between the confused, often corrupt world of the court and the honest simplicity and working life poverty of the country. Those that travel from the court into the country are all changed for the better, up to and including Duke Frederick who, like Putin, begins an invasion of Arden intending to commit mass murder and is then converted to benevolent pacifism, unlike Putin. On a technical and design level the production did not reinforce this basic distinction of setting – we didn’t get much of a forest – so observations like sweet are the uses of adversity fell flat.

In the last act, the middle son of old Sir Rowland de Boys arrives from out of nowhere to describe this fantastic conversion. His speech is somewhat tongue-in-cheek, with Shakespeare repeating and emphasising the magic of the return to nature, and it went unremarked although dramatically it completes the comedy. (Another production might have considered then and now attitudes towards the natural environment.)

Northern Broadsides is to be commended for keeping its show on the road and helping to revive theatres after the pandemic but, on the evidence of this performance, I think the company might be better advised to steer clear of Shakespeare, possibly tackling work by Brecht or other dramatists whose work is less reliant on verse where their inventiveness can be deployed without disturbing the basic fabric of the play.