Little Shop of Horrors opened at New York's Orpheum Theatre on July 27, 1982.
... The author explains that" ... the script satirizes many things: science fiction, ...
DIRECTOR’S NOTES Little Shop of Horrors Charlotte MacFarland Little Shop of Horrors opened at New York's Orpheum Theatre on July 27, 1982. The musical is based on the lowbudget 1960 black comedy film The Little Shop of Horrors, directed by Roger Corman. The original off-Broadway production, directed by Howard Ashman with musical staging by Edie Cowan, received wide critical acclaim and won the 1982-83 New York Drama Critic’s Circle Award for Best Musical, the Drama Desk Award for Outstanding Musical, and the Outer Critics Circle Award. When the show closed in 1987 after 2,209 performances, it was the third-longest running musical and the highest grossing production in off-Broadway history. Book writer Howard Ashman refused to move the production to Broadway, feeling that it belonged in the smaller theatre where the intimate, "funky" nature of the show could be preserved. Thus, the original Little Shop of Horrors was ineligible for the 1982 Tony Awards. While Little Shop of Horrors is often produced by high schools and community theatres as well as university and professional groups, the musical poses many problems when it comes to doing it well and realizing the initial intent. The author explains that" ... the script satirizes many things: science fiction, 'B' movies, musical comedy itself, and even the Faust legend," yet he insists that actors should approach the piece with honesty and simplicity. Many productions, including the Broadway 2003 revival, have failed to find the tone of the work. Also, Little Shop of Horrors works best in a small arena; the original KSU Theatre production was performed in the intimate venue of Nichols Theatre. The large stage of McCain Auditorium is not ideally suited to the small cast of only eight people. Finally, there is the issue of four ever larger plants. Most organizations choose to rent the plants, and the choices range from truly awful and cheap to complex and overly expensive versions. We decided to build our own, and the process has occupied the entire summer and fall of our wonderful scenic designer, Kathy Voecks. While the music and the script are certainly fun, we have found that this musical resonates quite deeply with these difficult economic times. The characters are stuck in the poverty and hopelessness of Skid Row, New York. They don't see any way out of their misery and thus are ripe for temptation. The plant offers Seymour financial success and a way to the American Dream with the girl he loves. All he has to do is feed Audrey the Plant human beings - a preposterous and repulsive idea except that the lure of easy money almost always leads to destruction and loss. Sound familiar? Too bad the "Captains of Wall Street" responsible for America's recent financial meltdown didn't heed the final message of the musical: "But whatever they offer you--Tho' they're sloppin' the trough for you-Please whatever they offer you, DON'T FEED THE PLANTS!"
