Legitimate Theater: "Little Shop of Horrors" (1982)

Little Shop of Horrors

Welcome to Legitimate Theater: a column dedicated to movie-based stage musicals. The goal of this series is to explore those stories that originated in films and eventually worked their way onto Broadway and beyond. By the end of each entry, there will hopefully be a better understanding of this odd but rampant trend in modern entertainment. Are these stories really worth telling through song and dance? How can it even compare to the technical prowess of a camera and seamless editing? Join me on this quest as I explore the highs and lows of this trend on the third Wednesday of every month and hopefully answer what makes this Legitimate Theater.

Opening

It is the Halloween season again, and that means it's time to open up the crypt and find all of the horror musicals of yesteryear. In this case, it's hard to ignore one of the most successful Off-Off-Broadway shows in existence. Based on a Roger Corman b-movie classic, Little Shop of Horrors gets praise for bringing to life a story of comedic splendor involving a plant with quite an agenda (and it can sing!). It also was one of the major shows that launched the careers of future Disney stalwarts Alan Menken and Howard Ashman. Their work shows here, and it makes sense why a later Frank Oz-directed film version has become a cult favorite. Everything about the story is meant to embrace the silly, weird side of horticulture horror, and in the process set the bar for what horror musicals should be. 

A Quick Background

Tony Nominations: 1 (including Best Lead Actor in a Musical) in 2004

Based on: Little Shop of Horrors (1960)

Music: Alan Menken

Lyrics: Howard Ashman

Book: Howard Ashman

Prominent Actors:  Lee Wikof, Ellen Greene, Hy Anzell

Soundtrack

1. "Prologue/Little Shop of Horrors"
2. "Skid Row"
3. "Da-Doo"
4. "Grow ForMe"
5. "WSKID/Ya Never Know"
6. "Somewhere That's Green"
7. "Closed for Renovation"
8. "Dentist!"
9. "Mushnik & Son"
10. "Feed Me (Git It!)"
11. "Now (It's Just the Gas)"
12."Act 1 Finale"
13. "Entr'acte/Call Back in the Morning"
14. "Suddenly Seymour"
15. "Suppertime"
16. "The Meek Shall Inherit"
17. "Sominex/Suppertime II"
18. "Somewhere That's Green (Reprise)"
19. "Bigger Than Hula Hoops"
20. "Finale Ultimo (Don't Feed the Plant)"

Note: Listen to the music here

Song Exploration

Opening Song:
"Prologue/Little Shop of Horrors"

The Roger Corman original was full of fun kitsch, so it's a nice touch to hear the musical playing into everything that made it fun. The doo-wop and early 1960s rock 'n roll enhances the absurdity and blending them together with the muses are tons of fun here. It plays so well into the comedy, and most of all it's really catchy. This is early evidence of Alan Menken and Howard Ashman's brilliance, and it shows in the clever wordplay and knowing when to just give into catchy repetition. As far as opening numbers go, this tonally gets to the heart of the show quickly, putting a smile on the listener's face and wanting to know just what comedic oddities lie beyond. 

Carryovers

Considering that the original film was a low budget film with not much in the way of music, there are not too many moments that are directly brought over from the film. What has been brought over is the general chemistry between Seymour and the plant Audrey Jr. (now named Audrey II). Even that has felt a bit shifted as supporting characters get bigger roles and the sense of Seymour's choosing Audrey II over Audrey feels played down. Even then, the absurdity and hilarity of the original film are heightened here and given a new and permanent life, even for those unable to fully appreciate the weird world of the original film.

High Point:

"Somewhere That's Green"

It's the love song that works on multiple levels. On what, it continues the familiar pastiche of 1960's pop culture blending into this idea of a suburban lifestyle. It creates this warped perspective of what a nice and simple life would be. In fact, there's little to suggest that it's comedic except for any context brought into the song. It's beautiful in how it captures characters' deeper desires and brings to light their visions of themselves. With that said, it can be read as funny for how the picture is painted, or sad for how delusional the fantasy can be seen. It works as early evidence of Menken and Ashman's ability to make a song that is catchy and memorable while also providing thought-provoking depth the more that it resonates with you.

Low Point:

"Now (It's Just the Gas)"

There is a logical reason why this song is on here. However, on a soundtrack that is full of memorable tunes that may as well make this an instant classic, it's easy to pick on the atonal track. This is one that exists in the madness that is consuming gas. It will be crucial to the back half of the plot, but as a song, it becomes more of a skit than a memorable song. It's fun in how the actors convey their struggle to maintain normalcy as they enter a danger zone, but it may have the least amount of nuance when revisiting the lyrics and go line by line. 

What Does It Bring to the Story?

While the gist of the story is predominantly the same, there are small portions of the plot that have been altered to fit the musical format. The most obvious is changing Audrey Jr. into Audrey II. On a deeper level, gas has come to replace the stabbing moment that is meant to kill Audrey II, which likely was for practical purposes. Beyond that, it's mostly heightening the comedy and giving the characters more of a personal depth that makes them engaging to audiences. Also, the choice to update the ladies of the night as a group of wandering muses is a brilliant touch that only adds more personality to the show. 

Was This Necessary?

Yes

To put it simply, the world is a better place for having Menken and Ashman in the world. While this show never quite became the sensation that its later film adaptation would suggest, it definitely leaves behind one of those brilliant horror musicals that set a high bar. It's campy and ridiculous, but it has so much going on that is exciting and fun. The music stays with you because they all feel meticulously crafted and given the love that a general musical should. It must be fun to see the props in action too, which are a big selling point of every version of this story. If nothing else, it's a show that deserves to be seen just for having a singing homicidal plant. That's quite an achievement.