Local talent shines in Sci-fi musical at Buxton Opera House

Little Shop of Horrors is the fifth community production from Buxton Opera House’s director, Paul Kerryson. Once again he draws from a rich pool of talent in the town and its surroundings to create a highly entertaining show, writes Margaret Coupe.
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This musical comedy focuses on poor orphan Seymour Krelborn, a florist in a run down part of New York. The arrival of a mysterious plant changes his life. He names it after the object of his unrequited love, Audrey, a co-worker. Audrey II creates a sensation; business booms. Then locals begin to vanish. The herb turns homicidal and with its signature demand of ‘feed me!’ needs to satisfy its voracious appetite for human flesh.

Jamie Smith gave an impressive performance as geeky, downtrodden, tender-hearted Seymour, dominated by his boss Mushnik (ably played by Stephen Sheppard) and terrorised by Audrey II. Karina Tomlinson, with a fine Bronx accent, portrayed Audrey as nice but dim with zero self-esteem. Her relationship with a psychotic dentist, Orin Scrivello, can only be described as abusive. Ross Clifton let it rip as the ‘semi-sadist’ dentist, snorting nitrous oxide and taking offensiveness to the next level. Rachel Taft voiced the monster plant with wheedling menace and full-blooded singing.

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All the principals sang expressively and powerfully, and the chorus delivered the catchy tunes with gusto. The music, a mixture of rock, doo wop, early Motown and R and B, was provided by a superb band of four. Here’s a shout out to musical director, Richard Atkinson. Also, Tracey Iliffe’s choreography produced slick routines reminiscent of the moves of 60s’ girl groups.

A wonderful production of Little Shop of Horrors at Buxton Opera House. Pic submittedA wonderful production of Little Shop of Horrors at Buxton Opera House. Pic submitted
A wonderful production of Little Shop of Horrors at Buxton Opera House. Pic submitted

The set, a drab florist’s shop which brightened as it began to prosper, was excellent. Effective lighting added to the B-movie atmosphere. Willow Mercer’s costumes evoked the 60s, and the glamorous green glitter gowns could have been worn by The Ronettes or The Crystals.

I can only describe the plant as blooming marvellous and I commend the team who designed, constructed and operated it. At the end Audrey II had taken over America and it even spread its enormous tentacles over the audience in its bid for world domination.

Fast-paced and engaging, there was nothing amateur about this production. Feed me more shows like this!

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