REVIEW: Little Shop of Horrors

QPAC in association with Woodward Productions

Cremorne Theatre

On Sale until 15th February 2026

Attended 6th January 2026

Book & Lyrics by Howard Ashman

Music by Alan Menken

Little Shop of Horrors; bigger than hula hoops.

By Tamzen Hunter & Rhona Bechaz

Little Shop of Horrors doesn’t just invite you in, it lures you, teeth first.

Few musicals balance absurdity and menace with the sheer spectacle of Little Shop of Horrors. What began as a low-budget black comedy film in 1960 later blossomed, under the creative genius of Howard Ashman and Alan Menken, into a wickedly funny yet unsettling musical; a mirror held up to our obsession with success, consumption, and the American Dream. Beneath its gleefully gory exterior lies a sharp satire of capitalism, consumerism, and moral compromise; one that feels as uncomfortably relevant today as it did over sixty years ago. With its iconic Motown-inspired score, unforgettable characters, and a man-eating plant at its heart, this cult classic remains utterly one of a kind.

QPAC in association with Woodward Productions’ Little Shop of Horrors captured everything to love about this gloriously camp musical, and it is unsurprising they are opening to a sold out season! Delivering a fresh, artistic interpretation of such a beloved favourite while also remaining faithful to the text can be incredibly hard, but the strong vision of Alister Smith and the creative team balanced the two perfectly, from roots to leaves.

Photography: Joel Devereux

From the moment the audience entered the Cremorne Theatre, the black-and-white set design signalled a clear homage to the original 1960 film. Alex Hein’s monochrome costuming reinforced this aesthetic beautifully, grounding us in the grimy world of Skid Row and ensuring even the back row knew we were in for a treat!

Penny Challen’s forced-perspective set of Mushnik’s flower shop and the street beyond was both clever and playful, allowing actors to perform in windows, on crates, and among rubbish bins with ease. Halftone textures and pulp-inspired patterns further enhanced the show’s 1960s comic-book charm.

Photography: Joel Devereux

Under the impeccable musical direction of Heidi Loveland and David Young, the music and vocals pulsed at the heart of the show. From the very first moment, the audience was swept away as the prologue erupted in thunderous orchestral hits. Menken’s iconic score crackled to life, while Ashman’s ominous prologue arrived as rich, resonant narration, setting the tone for a show that is as electrifying as it is unforgettable. The trio of Urchins, Kimberley Hodgson (Crystal), Anna Francesca Armenia (Ronette), and Nikita O’Keeffe (Chiffon), immediately set the high standard of performance we were to expect with gritty vocals, street-smart charisma, and flawless harmonies. “Skid Row (Downtown)” pulled us fully into this world, supported by smart ensemble casting that kept the stage busy without feeling crowded. 

Maxwell Simons delivered an endearing Seymour, blending strong vocals with physical comedy, while Kirby Burgess’ Audrey (breathy New York accent and powerhouse voice intact) won hearts instantly. Bryan Probst’s weary Mr Mushnik was perfectly cast, capturing both desperation and humour.

Photography: Joel Devereux

Audrey II’s first appearance sparked immediate excitement. Even at its smallest scale, the puppet impressed, with clever staging hiding puppeteer Charles Ball during “Grow For Me.” Dan Venz’s choreography shone throughout, particularly in “You Never Know,” where the second Audrey II iterations perfectly timed snapping and a fake-hand gag had the audience in stitches. The Urchins’ rhythmic homage to 1960s doo-wop–style dance was a joyous throughline, seamlessly weaving together scenes and song styles. The consistent use of canon made fantastic use of the trio, while the evolving choreography effectively transitioned the action and had the audience tapping their toes in sheer delight.

Photography: Joel Devereux

Highlights continued with Burgess’ vocally stunning, heartfelt “Somewhere That’s Green,” delivered with warmth and emotional clarity. As the shop transformed during “Closed for Renovation,” colour flooded the stage, carrying through to “Be a Dentist” and Stephen Hirst’s wildly entertaining Orin Scrivello.

“Sudden Changes” mirrored the melody of Somewhere That’s Green in a sweet, light-hearted moment before Seymour was abruptly cut off. It is here that we first discovered the ominous deep vocalisations of Audrey II, voiced by the incredible Matthew McKenzie.

“FEED ME!”.

“... I beg your pardon?”

(We simply had to take a moment to honour Maxwell Simon’s confident, extended use of pause - because if any of us heard our beloved houseplant demanding blood we’d definitely need a moment to collect ourselves!)

“Feed Me (Git It).” gave the reigns to perfectly cast McKenzie, who delivered a jazzy, smooth yet gritty voice that embodied everything we’d come to expect from the bloodthirsty alien plant. Charles Ball’s puppetry made this version of Audrey II a full-body spectacle: twisting head movements and flailing roots (operated with his legs) had the audience gasping and whooping in delight. By the end of this electrifying number, we found ourselves alarmingly on board with the plan, rooting for Seymour to save Audrey from Orin’s relentless berating and abuse. 

Photography: Joel Devereux

“Now (It’s just the gas)” was a song so full of physicality and fun that it’s hard not to laugh yourself to death.  As Simon wrestled with Seymour’s moral dilemma, Hirst balanced the vocal challenges of Orin’s swansong while strategically suffocating in a gas mask! The duo worked together in a spectacularly macabre push-pull of power.

The Act One finale was sensationally capped off with another showcase of Audrey II’s brilliance, gleefully swallowing body parts one by one with ease (slurping and chomping noises included!!).

In Act Two, the tension and momentum really blossomed upon the reveal of an even LARGER Audrey II, while the energy was palpable with inventive twisting, turning choreography in “Call Back in the Morning”. The tender, yet powerful “Suddenly Seymour” followed, with Simon and Burgess hitting the romantic peak with absolute vocal and acting perfection.

We delighted in Stephen Hirst’s return to flesh out the various characters in “The Meek Shall Inherit,” each appearance growing more hilarious in voice, physicality, and rapid costume changes. It was a perfect moment of tongue in cheek, allowing Hirst the space to push the bounds of campiness and comedy, and the audience reveled in every second.

Photography: Joel Devereux

The dark, Motown funk of “Suppertime” and its reprise were gloriously amplified by Declan O’Neill’s moody lighting and fog effects. The stage effects in “Death of Audrey” were breathtaking, balancing horror, camp, and heartbreak with precision.

The show closed with a delightfully sinister (yet upbeat!) “Don’t Feed the Plants,” embracing the darker ending in full, chomping glory, and leaving the audience on an incredible natural high (no nitrous oxide needed!). The band, Annie Silva (Bass), David Whittingham (Guitar), Luke Volker (Keyboard 2) and Steve Fischer (Percussion), played with funky precision throughout, nailing the incredibly challenging timing and stylistic changes with artistry, and provided a rock-solid backbone despite remaining unseen.

Photography: Joel Devereux

Though the production could have filled a larger venue, the Cremorne Theatre proved the perfect intimate home. The audience left smiling, buzzing, and talking about favourite moments. While we could debrief each brilliant artistic choice forever, we came away with three truths. One, Woodward Productions & QPAC have created an absolute must see production that incorporates all the favourite parts for us Little Shop cult followers and adds a few new ones; Two; Clearly, don’t feed the plants; and Three; like Audrey II herself, this Little Shop left us wanting more, more, MORE!