Tag Archives: Howard Ashman

“Little Shop of Horrors” at Regent’s Park Open Air Theatre

If this production is anything to go by, director Maria Aberg has green fingers – she nurtures this hit musical about a carnivorous plant from outer space marvellously.

Adapted from Roger Corman’s B-movie back in the early 1980s, Little Shop of Horrorsis a youthful work from the legendary Alan Menken, packed with musical ideas and barely a bum note. It includes the catchy-as-anything title tune, the brilliant romantic theme ‘Suddenly Seymour’ and the hilarious number ‘Be A Dentist’ – all of which you’ll be humming long after the show ends.

The book and onomatopoeic lyrics by Howard Ashman are great fun and there’s an underlying wit that continually impresses. The story of a freakish flower that changes the fortunes of its florist shop owners is told at a cracking pace, while the fact that growth comes at a price makes the piece a simple but effective morality tale. It’s quirky, dark, campy and cultish – all qualities appreciated by Aberg.

The mock low-budget design from Tom Scutt recalls the show’s Off-Broadway origins and original film source, full of anarchic energy and surprises – an achievement in such a polished production – and adds great charm. Scutt’s wonderfully detailed costume designs are fantastic, too, and his skyscrapers in shopping trolleys a nice nod to the skid-row setting.

Jemima Rooper and Marc Antolin
Jemima Rooper and Marc Antolin

Our hero Seymour isn’t really as sweet as he seems, or maybe he’s just dumb. Either way, Marc Antolin does a great job in the role, sounding great and with terrific stage presence. Jemima Rooper has a nice edge as his love interest and a trio of narrators (Renée Lamb, Christina Modestou and Seyi Omooba) are superb – each has real star quality. A couple of performances are too broad, mistaking the show’s fine edged comedy: Matt Willis’ dentist lacks thrills and Forbes Masson’s Mr Mushnik is reduced to a cheap gag.

Vicky Vox as Audrey II

It’s Seymour’s nemesis, the plotting plant he names Audrey II, that is the star. The clever move is to use not just puppetry here but to cast a drag queen in the role and Vicky Vox steals every scene – this Audrey II really reigns. You’re kept wanting more of Vox, leading to a truly spectacular encore number, including a new wardrobe for everyone, where the show’s crazy creativity is unleashed, making sure the audience leaves blooming.

Until 22 September 2018

www.openairtheatre.com

Photo by Johan Persson

“Aladdin” at the Prince Edward Theatre

Nobody does family entertainment like Disney. As this latest transfer from Broadway illustrates, their franchises cover all bases for a hit. Theatre is always a gamble, but it’s a safe bet that Aladdin will reap dividends, and someone has clearly put a great deal of money on it. With its many neon-coloured costumes and intricate sets (brilliant work by Gregg Barnes and Bob Crowley), this is a sumptuous night out. And that’s not to mention the magic carpet – with this budget they might have paid for a real one.

Adapted from the 1992 animation, Chad Beguelin’s book is a masterclass in moving movie to stage. It’s what people want and the show does exactly what it says on the tin lamp. Maybe it’s churlish (or naïve) but could they have been more adventurous? If I had one wish the film’s romantic theme, A Whole New World, would have been ditched despite its Oscar. It’s an uncharacteristically weak song from the impressive Alan Menken, who wrote the music here, working with Howard Ashman, Tim Rice and Beguelin on lyrics.

 Jade Ewen and Dean John-Wilson
Jade Ewen and Dean John-Wilson

The additional songs are good and, as they were cut from the original film, they fit well. The first couple of numbers are best, carefully fleshing out the main characters. Dean John-Wilson cuts a dash in the lead (although if you’ve heard his magnificent voice before you might feel he is underused) and Jade Ewen is a charming Princess Jasmine. Combine the strong performances and their opening numbers and the two leads escape from being cartoon characters. Other tunes are catchy, and clever, if functional rather than magical.

With Casey Nicholaw’s ruthlessly efficient direction and choreography there’s little time to pick holes. A breakneck pace defies boredom and there’s plenty of humour as well. The role of Aladdin’s chums, embraced by Nathan Amzi, Stephen Rahman- Hughes and Rachid Sabitri, is a good case in point: their number is good and the staging so exaggerated it might be better suited to a cartoon. But the whole thing is so invigorating, with the addition of some food-based puns, it takes your breath away.

Trevor Dion Nicholas
Trevor Dion Nicholas

Aladdin’s secret weapon is, of course, the Genie. It’s the same for this show. Travelling with the production is Trevor Dion Nicholas, a real high value pro: commanding the stage, directing the fun and guiding the pieces wry edge. Gleefully telling us when his “big production number” is coming up and pointing out “we don’t have time for self discovery”, Nicholas is the proverbial dream. Such a strong theatrical performance fulfils my wish for the show. Bravo.

Booking until 11 February 2017

www.aladdinthemusical.co.uk

Photos by Deen van Meer © Disney