Marietta’s New Theatre in the Square’s production of “Little Shop of Horrors” aims at reinventing the play for a modern audience, and the result is both intermittently sweet and awkward. Certainly, there is fun to be had here with the broad characterizations that the Ashman and Menken musical does so well, and the actors sing their roles with skill. However, there are pacing issues here and there, and the production’s ambition is at times its own worst enemy.
Director N. Emil Thomas has made attempts to modernize the play’s setting, homing in on the urban nature of Skid Row while pulling the show away from its white appropriationist roots. The majority of the characters are played by a strong Black cast, led by Andrew Goodall as Seymour and Michiah Merriweather as Audrey. The scenic and costume decisions also emphasize the fact that Skid Row has a historically high non-white population. In lieu of set pieces, this production utilizes projection designs to evoke the combination of grittiness and vibrancy that characterizes Skid Row. Multiple images of graffiti and wall art in varying Black urban traditions help to give this production a sense of place and identity.
The costumes, likewise, lean toward a more Black-centric sensibility. Keenan Green is decked out in leather jacket and bandana as Dr. Orin Scrivello. As usual, the effect clashes with his “respectable” profession, but that was what Ashman and Menken were going for when they wrote the sadistic physician, and the effect is well-preserved here. There is, however, something a bit lacking in Audrey’s wardrobe. I am not one to cling too tightly to tradition, but the wardrobe choices for Michiah Merriweather are not nearly outlandish enough to justify the actual references the script makes to her bold sartorial choices.
Credit: Pytron Parker
Credit: Pytron Parker
Really, I have very few gripes with the staging, conception or technical direction of this production. It all works reasonably well, and, while it may not completely shatter the mold of what “Little Shop” can be (it would need to go further with some of its choices to do that), it does flex that mold a little bit, which is always to be appreciated. My problems lie in some of the performances, which lack the full-bodied strength necessary to make the directing choices soar.
Goodall is perfectly adequate in his performance as Seymour. He doesn’t carry Seymour’s underdog charm so far that it becomes cloying but maintains enough of his good-natured awkwardness to be likable. His voice is unlike the traditional Seymour-style of singing, favoring a warm and robust baritone over a squeaky tenor. In fact, he seems slightly uncomfortable on some of Seymour’s high notes. A “Little Shop” loyalist may be quick to think that the Seymour-style is non-negotiable, but Goodall makes it work.
Credit: Pytron Parker
Credit: Pytron Parker
Merriweather is a sweet and sympathetic Audrey, but her performance could use a little bit of balancing. Often, she defaults to the same facial expression and vocal inflection whenever she is trying to convey how beleaguered Audrey is by her abusive paramour. As for her singing, she is clearly more comfortable with belting than with the softer lilts that her songs demand. Her voice is a powerhouse, and when the score matches her instrument, she shakes the rafters. However, she has some difficulty moving between full chest and head, which undermines some of her natural vocal strength. That said, her rendition of “Somewhere That’s Green” is a highlight of the whole production, and it’s also one of the moments that is most amplified by the projection design, which lends a touching yet funny sentimentality to the character’s fantasies.
The rest of the cast perform their roles well. Mione Destiny, Kiaosha McGoughy and Kate Metroka are captivating as Ronnette, Crystal and Chiffon. Keenan Green brings a demented, sprightly energy to the Dentist, and Angel Fabian Rivera is an engagingly enthusiastic Mr. Mushnik. Ruth Mehari also pivots into multiple ensemble roles, delineating each one with clarity. There are moments when the ensemble vocals don’t come together in total harmony, though that feels like an issue with the sound mixing more so than the vocal performances.
One of the biggest issues is not one of eagerness, but one of clarity. Most of the actors talk quickly and struggle to make themselves heard. I am sure this was not an issue for those sitting near the front of the stage, but for those like me who sat near the back, entire sentences were lost. It became a particular problem during the Dentist’s death, as I could not make out a single word that Green uttered during the last entire minute of his song due to the oxygen mask he was wearing. For a song with an ending punchline that relies on wordplay, you can see how that is a problem.
It is difficult to say with productions like this whether the end result was a success or not, given that success is only fairly defined when measured against the production’s intentions. What I will say, however, is that last week I reviewed a production of “Macbeth” at the Shakespeare Tavern, which I treated less favorably than I have this production. I cannot say that production was appreciably less competent (in fact, it may have been more so), but I reviewed it poorly because I felt that it did nothing to deepen or explore the story of Macbeth; it was content in its basicness. This production of “Little Shop of Horrors” may have its stumbles, and it may at times reach further than budget or facilities allow, but I will always commend ambition, especially when the end result is enjoyable enough for a little pre-Halloween fun.
THEATER REVIEW
“Little Shop of Horrors”
Through Oct. 31. $20-$40. Marietta’s New Theatre in the Square, 11 Whitlock Ave NW, Marietta. 770-426-4800, theatreinthesquare.net.
Credit: ArtsATL
Credit: ArtsATL
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