‘Little Shop of Horrors’ review
‘Bailey Theatre Company should be immensely proud of themselves’
Martha Buttle’s Director’s Note states, “The musical raises an unsettling question: why is a killer worthy of our love? Such a question formed the focal point of my vision.” I can wholeheartedly say this vision shone through in every aspect of Bailey Theatre Company’s production of Little Shop of Horrors.
Michael Nevin as Seymour was astounding; he delivered clear, powerful vocals and skillfully balanced comedic timing with moments of genuine distress and simmering moral conflict. It was a joy to watch him on stage once again, he truly shines in this role. His chemistry with Audrey, portrayed by Georgia Hitchcock, was palpable and deeply engaging. Hitchcock embodied the innocent, wide-eyed Audrey beloved by the musical theatre community, delivering a performance that could rival Ellen Greene herself. A true highlight of the night was her rendition of “Somewhere That’s Green”. Her soaring vocals, paired with thoughtful character choices, created a moving and emotionally resonant moment that allowed the audience to fully connect with her longing and vulnerability.
Saachi Bajaj as Crystal, Ade Adejobi as Ronnette, and Syllah Shupo as Chiffon brought one of the most iconic trios in musical theatre to life with immense joy and charisma. The clear connection between the three performers was evident throughout, and their tight choreography, combined with strong individual characterisations, made them a constant delight to watch. Together, they delivered some of the show’s most memorable songs and lines with sharp humour, vibrant energy, and impeccable timing, serving as both narrators and driving forces of the story. Fred Walmsley as the voice of Audrey II was fantastic. Even though he was singing offstage, his presence was undeniable. His rich, commanding vocals brought the carnivorous plant to life with charisma and menace, making each of Audrey II’s appearances feel thrilling and larger than life.
Mr. Mushnik, portrayed by Jamie Strand, was also a joy to watch on stage. His warm yet exasperated characterisation added depth to the role, and his impressive and slightly chaotic tango choreography during “Mushnik and Son” had the audience in rapturous applause. Equally commendable were Harry Graves and Julia Panova, whose dynamic energy as the ensemble brought texture and vitality to the world of Skid Row. A clear standout of the night was Max Hildred, who portrayed Orin, the sadistic dentist. From the moment he made his entrance through the audience, eliciting a startled scream from an unsuspecting attendee, Hildred commanded the stage with chaotic energy. His maniacal laugh, exaggerated pelvic thrusts, and intentionally uncomfortable characterisation struck a perfect balance between hilarious and horrifying. His performance of “Dentist” was both electrifying and unsettling, capturing the darkly comedic essence of the character while showcasing impressive vocal and physical commitment. He shone in this role, and I can’t wait to see what he does next.
Buttle must be applauded for her vision, which permeated every aspect of the Assembly Rooms Theatre. Assisted by Lauren Williams, she crafted a production that was bold, cohesive, and remarkably assured, especially impressive for a first directing credit in Durham. She should be immensely proud of what she and her team achieved. Another truly jaw-dropping element of the show was the puppetry. Staying true to traditional representations of the carnivorous plant, the Audrey II puppets grew progressively larger and more imposing with each appearance, each one as intricately designed and impactful as the last. Without spoiling too much, the audible gasp that rippled through the audience as the curtain lifted for Act 2 speaks volumes about the surprise and delight the production continued to deliver in the set, designed by Libby Simpson. In a few moments, some performers were partially obscured behind the larger puppets, making it slightly difficult to see the full ensemble in action, however, the intricacy of the vines, flowers and plants scattered everywhere filled the stage and was lovely to see.
The music was also a highlight, under the musical direction of Amelia Awan and Rose Gowan. At times, it was difficult to hear certain harmonies and vocal lines, as the band occasionally overpowered the singers. However, the band itself sounded fantastic, and this minor imbalance did not detract significantly from the overall enjoyment of the performance of both groups. Production Manager Miles Balderson, assisted by Eleanor Murray, should also be very proud of their work. With so many moving pieces behind the scenes, their coordination ensured that the puppetry, lighting, and sound effects were all executed cleanly and effectively, adding polish and professionalism to the entire production. While the choreography, by Midun Odunaiya and Connie Richardson, was fun, playful and skillfully executed to create some fun moments on stage between characters, especially for our trio of narrators.
Overall, Bailey Theatre Company should be immensely proud of themselves for delivering such a fun and lighthearted rendition of a beloved musical theatre classic, especially considering they had only around three weeks to put the production together! It was truly a joy to watch, and it was clear how much fun the performers were having on stage in their roles. If you have a free evening this week, I would highly recommend catching this show before it ends. It’s the perfect escape from revision and summative stress, a well-earned break full of laughter, music, and theatrical magic.
By Jacob Vellucci.