Dark humor and Disney-esque tunes make for a thrilling tale of (the real) monsters hidden in plain sight
The darkly delicious comedy musical “Little Shop of Horrors” is a theater staple for good reason.
Debuting on Off-Broadway in 1982, it has amassed dozens, if not hundreds, of iterations in both professional and student theater to this very day. With an easily digestible story and delectable Doo-wop-meets-Disney music, it’s understandable why the musical keeps getting revisited and restaged for years. Its strangely enduring appeal is also telling of its universal themes: the perennial, persistent “threat” of the dangers of human greed, the arrogance of science, and the folly of being blinded by desire.
Even stagings in the Philippines have contributed to this decades-long legacy of the Alan Menken and Howard Ashman musical. The Sandbox Collective’s managing artistic director Toff De Venecia (who also directs this current production of “Little Shop of Horrors”) and musical director Ejay Yatco both share a history with this musical, having seen the film in their childhood and, later on in their university years, worked together in staging Ateneo Blue Repertory’s production of the musical in 2011.
Now the two are revisiting the musical on a larger scale—and it has grown, not just in size but also in how it showcases their evolution as artists.
This “Little Shop of Horrors,” featuring set and costume design by Mio Infante, is dark and moody, calling to mind an industrial gothic aesthetic that reflects the darkness of the story’s themes. The grit and grime of rusted steel pipes and dark concrete, the science fiction-and noir-inspired lighting and projections, along with the almost monochromatically grays and browns of the cast’s costumes, contrast with the musical’s lush doo-wop, rock and roll, and Motown sound.
The elements of classic Disney also make this dark comedy approachable for audiences of all ages. Being created by Ashman and Menken before their contribution to the Disney Renaissance of animated films, the music bears hints of beloved tracks: “Somewhere That’s Green,” Audrey’s “want” song, bears striking similarities to the 1989 film “The Little Mermaid,” particularly “Part of Your World,” while the Greek chorus of muses in “Hercules” harkens back to “Little Shop’s” own Urchins.
The push and pull between thematic dark and light also makes the musical an engaging watch. While you can take it as a tragic romantic-comedy thanks to the rather gruesome events that befall its leads Seymour and Audrey, digging deeper reveals that at the root of “Little Shop” is a commentary on human values and morals (or the disintegration of it) in the face of societal struggles, greed, and (unsurprisingly, the root of all our problems,) capitalism.
Sandbox’s staging also features a compelling cast, with each set offering a different flavor to the sci-fi tale. Reb Atadero and Sue Ramirez’s Seymour and Audrey in particular have such a surprising, fresh chemistry. Atadero’s take on the clumsy young florist hits all the right marks, being awkward, funny, and earnest exactly when he needs to be. Ramirez, who makes her theatrical debut in this production, is a revelation. Her Audrey is a vivacious (if at times masochistic and troubled) bombshell, that navigates through the highs, lows, and longing her character demands, without becoming a caricature. It’s almost like this isn’t her first rodeo in theater, especially impressive as she can hold her own, even alongside theater veterans Atadero and Audie Gemora (who plays their cunning employer Mr. Mushnik).
The bloodthirsty plant Audrey II is also a much-anticipated spectacle in “Little Shop.” While most productions abroad have tinkered with an evolution of puppetry and mechanics to create the growing plant, Sandbox goes with an anthropomorphic route, mixing puppetry with live actors portraying the bold and insatiable plant.
The depiction of Audrey II’s growing pod, and the gradual multiplication of its eye-like nodes (with more and more puppeteers moving to make this “ecosystem” of Audrey II) as it feeds on more blood and flesh over the course of the show, is unconventional if compared to the professional productions abroad. On a personal note, having a colossal puppet might’ve been a doable feat, especially considering how much of a norm it now is to see extravagant displays on stage (with production after production making use of it lately). Some to good effect, others, not so much—but “Little Shop” would have been able to pull off spectacle with a story. I would’ve been thrilled (and terrified) if we had plant tendrils “eat this theater” as the finale’s lyrics say. Still, the design they opted for remains an impressive reveal of OJ Mariano and Julia Serad alternating as the snarky, sassy, formidable dark force of an antagonist.
Given their starkly different vocal ranges, Mariano and Serad give different flavors as Audrey II. Mariano’s deep tones resonate so well as the sinister plant, while Serad’s powerful, sultry take makes the plant maneater personified. While both actors gave astounding performances, my personal preference leans more towards Mariano’s Audrey II, with his voice standing out and contrasting better against the rest of the characters in ensemble numbers.
The choice of having a “humanized” Audrey II that can walk across the stage—and even take up prime real estate above and center (a show of power, for sure)—instead of constructing a spectacle of a plant growing to the point of engulfing the stage or theater is an interesting direction. If deliberate, I’d like to think it aims to temper the show’s potential for camp, and instead steers it towards the message: This man-eating alien plant is a reflection of the worst in us humans. While this show is “fun,” it’s more than just about the thrills. It’s about the real monsters hidden in plain sight.
This anthropomorphic Audrey II is us humans if we allowed ourselves to be consumed by blind greed and unchecked power. And so the finale is ever more urgent: “Whatever they offer you, don’t feed the plants!”
(Or, as I’d like to translate it, “Kahit anong ialok sa ‘yo, ‘wag kang magpapakain sa sistema.”)
“Little Shop of Horrors” runs until July 28 at the Maybank Performing Arts Theater, BGC. Directed by Toff De Venecia, with musical direction by Ejay Yatco, set and costume design by Mio Infante, and choreography by Stephen Viñas. Starring Nyoy Volante and Reb Atadero as Seymour Krelborn; Karylle Tatlonghari and Sue Ramirez as Audrey; Markki Stroem and David Ezra as Dr. Orin Scrivello; Audie Gemora as Mr. Mushnik; OJ Mariano and Julia Serad as Audrey II; Abi Sulit, Paula Paguio, Julia Serad, and Mikee Baskiñas as the Urchins Crystal, Chiffon, and Ronette.
