Little Shop of Horrors at Exeter Northcott Theatre and on tour – review

As Exeter Northcott Theatre’s first full-scale produced musical in 20 years, a trip “Down Town” is a mighty swing for the venue. If this production is any indication of what’s to come from Northcott, the South West is in for a treat.

This campy, Faustian tale follows the clumsy, lovesick and botany-obsessed Seymour (Scott McClure), as he discovers a “strange and interesting” new breed of flora. Despite its peculiar dietary requirements, the plant claws Mr Mushnik’s flower shop back from the brink of bankruptcy. When fame and fortune start calling, this show grows some teeth… and chaos ensues. Naturally!

However, this cast not only keeps up with Menken and Ashman’s iconic score (which is as infectious as ever), they each make it their own.

McClure portrays Seymour with a quirkiness that not only plays to the back benches but becomes increasingly endearing, while avoiding caricature. Andrew Whitehead’s Mr Mushnik and Dashaun Vegas’ Audrey II each command the room. Audrey II, expertly realised through Duncan Taylor’s puppetry direction, would not be as entrancing if it wasn’t for the gravitational pull of Vegas’ brilliant offstage vocal performance.

Ross Clifton plays our main non-plant antagonist, Orin Scrivello, part sadist dentist, part Elvis Presley doppelgänger. He not only keeps the laughs coming with his vocal twangs and outrageous physical comedy, but he also takes on several other secondary characters, each time sporting his signature leather trousers along with a unique character signifier (a lab coat, a feathered fascinator etc.). Clifton has a lot to juggle here and even during a mic issue that serendipitously coincided with a scene in which Scrivello is trapped in a gas helmet, he never stumbles. In fact, the audience is left wondering if the volume reduction is an intentional choice to show Clifton’s quickening loss of oxygen. Bravo!

The Greek chorus of Skid Row ragamuffins (Laura Buhagiar as Ronnette, Jodie Micciché as Chiffon and Jessica Ncube as Crystal) are a joy every time they descend the staircase that frames the stage. Although their retro-futuristic costumes at first seem at odds with the production’s overall aesthetic, the choice ultimately distinguishes the fourth-wall-breaking street urchins as omnipresent observers.

The trio’s stunning harmonies are impressive and are showcased beautifully in “Down Town” and “The Meek Shall Inherit”. Their delivery of Leanne Pinder’s canon choreography lends their movement a virality. Which is especially apt if you know how this story ends.

Yet, on a stage full of standouts, Leigh Quinn’s Audrey is a supernova. Her rendition of “Somewhere That’s Green” is sweet, measured, almost reclusive, drawing in the audience to Audrey’s daydream. Even in Audrey’s most vulnerable and heartbreaking moments, Quinn manages to portray a smouldering hope for a better life outside of Skid Row. Every pause, facial expression and turn of phrase is deliberate, often garnering uproarious laughter that never feels unwarranted.

A large community ensemble is utilised well here and never feels distracting despite the modest width of the stage. This production, by sharing the space with them (likely those who have been touched and inspired by a show like this in the past and potentially at this very venue), puts the work being done here into perspective. It’s a reflection of this community’s passion for the arts, and highlights just how vital it is to support ambitious swings like this one.

Audrey II may be big, but this production’s heart is even bigger. Trust that despite its many “horrors”, Exeter Northcott’s Skid Row is full of stars.