Emily Paterson

Little Shop of Horrors

25/01/24

Church Hill Theatre, Edinburgh

True confession time. Little Shop of Horrors is my favourite musical.

Sure, there are more serious shows out there, more portentous pieces, but there’s something about this silly, B-movie-inspired spoof that I find utterly irresistible. Based on a seldom seen 1960 Roger Corman produced film and adapted by Charles Griffith, with music by Alan Menken and lyrics by Howard Ashman, Little Shop of Horrors is a whole ton of fun, blessed with some of the most downright infectious songs ever written. Watch it through and you’re sure to emerge from the theatre singing one of them.

So when I hear that EUSOG have chosen it as their new production, I don’t need an awful lot of persuading. (That’s Edinburgh University Savoy Opera Group. Thanks for asking.) We’ve seen quite a few of their productions over the years and know that their standards are very high.

Lights down and pretty soon the trio of sirens, Crystal (Gemima Iseko-Behano), Ronnette (Marie Kende) and Chiffon (Duha Bilal) are soulfully introducing us to the story’s setting on Skid Row, where the titular florist’s shop can be found. It’s owned by Mr Mushnik (Hunter King) who keeps his two employees on a very tight rein. They are Seymour (Conor O’Cuinn), a hapless orphan with a flair for botanical experimentation, and Audrey (Allison Lavercombe), a tragic young woman currently suffering through an abusive relationship with sadistic dentist Orin Scrivello (Nash Nørgaard). 

But Seymour has discovered an interesting new plant, (which he has named Audrey II). It turns out that said plant has a powerful hunger for very unusual (and problematic) food…

From the opening song, raunchily blasted out by a ten piece band, you know you’re in for an exhilarating ride. The production sticks fairly close to the original but there are a couple of timely tweaks. The character of Audrey is played less for laughs than in earlier versions – and let’s be honest, the subject of domestic abuse isn’t exactly ripe for giggles. As portrayed by Lavercombe, she’s a fragile and helpless victim, desperately seeking escape, so much so that her signature song, Somewhere That’s Green hits me more powerfully than ever before, taking me dangerously close to tears.

And then there’s Audrey II (Thaddeus Buttrey), who in this production has the ability to step out from  his green lair and wreak havoc. Buttrey’s powerful voice nails the role with absolute authority. Nørgaard delivers a slickly arrogant Scrivello and let’s not forget O’ Cuinn, who plays the central role of Seymour to absolute perfection. He and Lavercombe’s rendition of Suddenly Seymour is every bit as spellbinding as it should be.

But of course, this is an ensemble piece, with every member of the seventeen-strong cast giving it their all. I love the way they work together to represent the evil plant’s developing power, a flailing forest of green clad arms, reaching out towards the audience. Plaudits must go to co-directors Tom Beazley and Amy Stinton and to musical directors, Emily Paterson and Falk Meier. 

I leave singing (apologies for that!) There’s only two more chances to catch this joyful production, so grab a ticket if you can and get yourselves up to the Church hill Theatre in Morningside where the Mean Green Mother from Outer Space is just dying to meet you.

5 stars

Philip Caveney

Jesus Christ Superstar

25/01/23

Church Hill Theatre, Edinburgh

I’m by no means a big fan of Andrew Lloyd Webber (and I’m an atheist to boot) but I have to admit that I’ve always had a soft spot for Jesus Christ Superstar. Back in 1971, the ‘rock opera concept album’ (as it was originally styled) had a revered place in my vinyl collection and was played on a regular basis, much to the consternation of my flatmates. I genuinely believe that Webber’s rock inflected melodies and Tim Rice’s acerbic lyrics are one of the great musical partnerships of the seventies. It’s an ambitious show for a student group to take on, but EUSOG are good at rising to a challenge and, in this stirring, gender-blind production, they attack the familiar material with their customary brio.

Of course, at the the heart of the musical lies the adversarial relationship between Jesus (Roza Stephenson) and Judas (Hollie Avery), but there are plenty of other opportunities to shine and director Izzy Ponsford ensures they are not ignored. There’s a stately performance from Gordon Stackhouse as Pontius Pilate, a man haunted by the fact that his name will be forever associated with the murder of an innocent. Sofia Pricolo handles Mary Magdalene’s plaintive ballads with aplomb and actually manages to coax tears from me during I Don’t Know How to Love Him. As Herod, Joey Lawson offers a jaunty, crowd-pleasing turn, complete with flashy tap dancing, while Theo Chevis and Kathleen Davie convince in their chilling double act as the priests, Caiaphas and Annas.

But more than anything else, JCS is an ensemble piece, so hats off to the huge chorus of disciples and acolytes, who breathe life into this Biblical extravaganza. Emily Bealer’s exuberant choreography is perhaps the standout of the production, but the music is excellent too: a twelve-strong band under the joint supervision of Emily Paterson and Falk Meier, providing note-perfect renditions of all those memorable songs.

It’s also nice to see a EUSOG production in the comparative luxury of the Church Hill Theatre – we’ve seen them perform in a variety of locations and this is the best venue so far.

I leave humming one of my favourites songs – Could We Start Again Please?- having been thoroughly entertained.

4 stars

Philip Caveney