The Atlantic City Theater Company Takes You Somewhere That’s Green
by Deitra Oliver
If you are receiving this transmission, it means the giant plant monsters haven’t taken over yet, and there’s still time for you to see The Atlantic City Theater Company’s production of Little Shop of Horrors. Playing at the Resorts Casino and Hotel Theater, this production offers an opportunity to live it up this spooky season and possibly make a weekend of it, as I did. Little Shop of Horrors is a personal favorite of my mother, so I was excited to take her with me to see this show. Throw in Atlantic City, and she was in heaven. The musical Little Shop of Horrors is based on the 1960 cult-classic B-movie of the same name. The stage production debuted in 1982 with music by Alan Menken and book and lyrics by Howard Ashman. The musical was also adapted to film in 1986, which is the version I am most familiar with. Directed by Patricia Durante and produced by Thomas Smith, this production truly lived up to my expectations, and most importantly, my mother’s.
After spending the day bopping around Atlantic City, my mother and I headed to the show. The theater has a traditional, old-school vibe that we enjoyed. The curtains were beautiful, bold, and sparkly, setting the expectation for something magical to happen. One drawback, however, was the seating. The seats are packed tightly together, and I heard more than one patron complain that they felt like they were crammed into an airplane. My mother and I had to agree. It was exciting to see a sold-out show, but the cramped seating made the experience less comfortable. My advice to larger-bodied patrons is to consider reserving an aisle seat.
Fortunately, once the live orchestra, under the direction of Jason Neri, began playing, my focus shifted from my seat to the stage, and I was transported. I’m a strong advocate for live musical accompaniment in shows, and I was greatly impressed by the orchestra's skill. The band was exceptional, featuring Jason Neri on keyboard, Stephen Prontnicki on guitar, Holly Stinson on drums for the October 10 and 24 performances, Michael Moore on drums for October 17, and Michael Auble on bass. The sound was cohesive and fluid, capturing the energy of the show’s different styles of music, from doo-wop to rock to rhythm and blues. Sound designer Joe Nicastro created a well-rounded sound that filled the theater while clearly highlighting both the vocals and the musicians. A couple of microphone issues arose, but they were quickly resolved. These things happen; what matters is that the show went on and the issues were corrected.
Little Shop of Horrors follows Seymour, a shy flower shop worker on Skid Row, played by Thomas Smith. When he discovers and raises an unusual plant named Audrey II, voiced by Cookie Diorio and manipulated by Amy Boehly, he believes it may be his ticket out of his miserable life and a way to win the love of his coworker Audrey. Seymour, played by Thomas Smith, and Audrey, played by Janeena Piñero, dream of escaping Skid Row and the flower shop owned by the unkind Mr. Mushnik, played by Nick Somodi. Audrey also hopes to escape her abusive relationship with the sadistic dentist Orin Scrivello, D.D.S., played by Jack Sullivan.
Thomas Smith brings a refreshing earnestness to the role of Seymour. According to my mother, Smith was her favorite performer. High praise indeed, seeing as how I can’t get her to admit I am her favorite child. All kidding aside, Smith was wonderful, delivering powerful, emotionally expressive vocals. The chemistry between Smith and Piñero was engaging and enjoyable to watch. Janeena Piñero as Audrey was a revelation for me. I loved seeing Piñero in this role because their interpretation challenged my expectations of the character. Piñero brings strength to the character that I think is sometimes missed. Audrey has been through a lot, but she is also a woman who has learned how to survive on Skid Row. I think Piñero did a superb job of balancing Audrey’s streetwise toughness with her sensitive vulnerability. On top of that, their vocals were outstanding, bringing a unique and powerful interpretation to songs like Somewhere That’s Green.
Nick Somodi’s Mushnik was strangely likeable. Somodi brings a comic delivery that softens some of Mushnik’s harsher lines. I was impressed not only by the strong comedic timing but also by Somodi’s vocal talent. During Mushnik & Son, my mother and I were both dancing along in our seats. The number was a standout that got the audience moving. Jack Sullivan also delivers strong comedic performances in multiple roles throughout the show, including Orin, Audrey’s abusive boyfriend. Sullivan was fun to watch, giving each character a distinct personality and voice. Although Sullivan gives Orin moments of comic levity, the character is also abusive and sadistic. Like Piñero, Sullivan skillfully balanced the character’s contrasting qualities, moving between comedy and menace.
The catalyst for so much of the story is Audrey II. Cookie Diorio voiced Audrey II, and from the first words spoken, I was sold. Audrey II has a distinct personality and sound that Diorio delivers flawlessly. Some of Audrey II’s lines are deceptively difficult because their simplicity leaves little room to hide a weak delivery. Diorio does a fantastic job of giving weight and energy to every word. Their vocals are equally impressive. This performance is enhanced by Amy Boehly’s skilled manipulation of the Audrey II puppets. As a puppeteer myself, I know how challenging it can be to manipulate a puppet in sync with someone else’s live dialogue or singing. Even with a scripted performance, the puppeteer must become familiar with the speaker’s timing and the emphasis placed on particular words and lines. Otherwise, the puppet can seem more like an automaton rather than a living creature. Boehly does an outstanding job of giving life to Diorio’s vocals through the puppetry.
Keyarah Ellis as Chiffon, Briana Myers as Crystal, and Ronnie Marie as Ronnette serve as the show's narrators, acting as an all-knowing Greek chorus. Ellis, Myers, and Marie shine vocally throughout the show, delivering sharp harmonies worthy of girl groups like The Supremes and The Ronettes. Together, they bring just the right amount of sass, wit, and fun to their characters. Their onstage interactions are enjoyable to watch. Rounding out the cast as the understudy/ swing is Amari Anaya and swing Nathaly Urquilla.
The show opens with Chiffon, Crystal, and Ronnette dressed in muted but stylized outfits. This costuming choice is consistent throughout the cast’s costumes. The muted palette effectively establishes the bleakness of Skid Row while allowing Audrey II to become the brightest presence onstage. The contrast emphasizes the plant’s otherworldly nature and makes it instantly eye-catching. The same visual approach carries over into the scenery. Joe Lazarus and Thomas Smith, the team behind both the costume and set designs, did an excellent job.
The staging itself was simple but effective, making good use of a largely fixed set. Master carpenter Paul Nolan and scenic charge Chris Sanchez help bring Mushnik’s flower shop to life. The stage is completed with a traditional New York stoop to one side and other street details on the other. Initially, the flower shop itself looks to be on its last legs, with wilted and sad flowers on display, but with the success found through Audrey II, the shop undergoes renovations complete with a new sign.
Prop master Pat Smith made some memorable contributions to the production. I particularly enjoyed the diving helmet worn by Orin in his death scene. Additionally, the design of Audrey II was impactful. I’m not sure whether the puppets were built specifically for this production or acquired elsewhere, but they were an excellent choice. Watching Audrey II grow progressively larger throughout the show was exciting.
Lynne Connerton’s lighting design also played an important role in telling the story. I enjoyed the use of specific colors to set the mood. I also appreciated how the lighting reflected the shop’s changing fortunes, becoming brighter as the space underwent renovations. With so many transitions and moving pieces, Assistant Director and Stage Manager Cindy Summers, along with stagehands Sue West and Terry Fleming, deserve credit for keeping the production running smoothly and ensuring that cues and transitions happened on time
Whether you make it a weekend getaway or simply an evening out, the Atlantic City Theater Company’s production of Little Shop of Horrors at Resorts Casino and Hotel is well worth the price of admission. My mother agrees: you should get your tickets as soon as possible! The remaining performances are October 17 and October 24, so don’t wait to get your tickets. You can purchase tickets here: https://www.ticketmaster.com/resorts-atlantic-city-tickets-atlantic-city/venue/16406
*** They/them pronouns are used throughout this review when referring to performers. Character names and pronouns follow the original work.
