A Blooming Triumph: Little Shop of Horrors Devours the Stage at Riverside Theatres

(Little Shop of Horrors at Riverside Theatres Opening Night Review - October 21, 2025)

Book & Lyrics by Howard Ashman | Music by Alan Menken Based on the film by Roger Corman (Screenplay by Charles Griffith) Originally produced by the WPA Theatre, later at the Orpheum Theatre, New York City

Riverside Theatre's Show Dates Run: October 16 - November 9, 2025

This Tuesday, Riverside Theatre's production of Little Shop of Horrors struck the stage with an opening night that completely captivated the audience. From start to finish, this production delivered on every level, nothing was lacking.

A Stunning Opening

Before a single actor appeared, the show announced itself boldly. The orchestra opened with raw, beautiful power while cloth letters spelling "Little Shop of Horrors" illuminated in vivid red against the blackout stage. When the curtain finally lifted, each actor radiated individuality and warmth, bringing infectious energy and enthusiasm to their roles. While some characters maintained a more relaxed demeanor than others, not one performer let a moment pass without purpose.

Production Design Excellence

The set design for Mushnik's Flower Shop on Skid Row was nothing short of spectacular. The creative team crafted an environment where towering skyscrapers and buildings appeared to loom menacingly over the small flower shop, creating a sense that the neighborhood itself might swallow it whole. Each building featured functional windows that illuminated as needed, a brilliant technical touch that enhanced the storytelling.

Every detail mattered. From the ticking clock on the wall to each individual flower placed on stage, nothing was there by accident. As the show progressed, the color palette shifted and intensified, growing more vibrant alongside Audrey II itself, a visual metaphor that didn't go unnoticed.

Choreography and Staging

The opening number "Skid Row" showcased particularly creative blocking and choreography. Each character represented a different walk of life in the neighborhood, with every performer bringing clear motivation to the lyrics. The production made bold creative choices throughout, including clever bits of physical comedy and inventive freeze-frame moments that had the audience laughing consistently.

Costume Design Brilliance

Kurt Alger's costume and wig design perfectly captured each character's essence. The standout costumes belonged to the doo-wop trio of Ronnette (Harper Miles), Crystal (Grace Ellis Solomon), and Chiffon (Bri Javis). In "The Meek Shall Inherit," they wore stunning gowns covered in jewels with drooping red gems across the chest that sparkled like blood, topped with bedazzled plant headpieces. The finale brought equally impressive red flapper dresses, detailed and eye-catching. The quick costume changes throughout were executed flawlessly.

Vocal Powerhouse Performances

Despite being a small cast, the vocal talent was extraordinarily strong and full. Brian Golub as Seymour delivered insane vocals, while Ruby Lewis brought charm and comedic timing to Audrey. Nicholas Ward, providing the voice of Audrey II, made impressive and difficult vocal choices, including stunning riffs that elevated every scene.

The doo-wop girls' harmonies were superb throughout, particularly in Act Two. Every cast member brought their own vocal spin to their characters, taking creative liberties with the musicality that paid off beautifully.

Standout Performances

Adam Lasalle deserves special recognition for his versatility, playing Orin Scrivello, D.D.S., as well as nearly every ensemble member (Bernstein, Snip, and Luce). His lightning-fast character changes, often appearing on opposite sides of the stage seconds apart in completely different personas provided both impressive technical skill and consistent comedy.

A technical marvel: Orin's gas tank helmet (reminiscent of an astronaut's) maintained crystal-clear mic quality throughout, an impressive feat of sound design by Craig Beyrooti.

Puppetry Magic

Clint Hromsco's puppeteering of Audrey II was exceptional. He brought fluid, natural movement to what must have been a physically demanding role, making the plant feel genuinely alive. The plant even glowed in the dark during key moments, another striking visual choice.

Technical Excellence

Julie Duro's lighting design grew increasingly dynamic in Act Two, complementing the show's escalating intensity. The set pieces moved seamlessly, and Craig Beyrooti's sound design ensured every voice was heard clearly, even through challenging costume pieces.

Behind the Scenes: A Company United

After the performance, I had the opportunity to speak with Ruby Lewis (Audrey) and Nicholas Ward (Voice of Audrey II), who both spoke glowingly about the production experience. They shared that this company was one of the most supportive they'd worked with, a group united by the same vision, want, and goal. The rehearsal process was described as fun and warm, with everything running smoothly. That camaraderie was evident on stage, where the chemistry between cast members felt genuine and effortless.

Final Verdict

This production of Little Shop of Horrors had not one dull moment. Every aspect, from tech and lighting to costumes, sound, and performances worked in perfect harmony. The audience remained invested throughout the entire production, and the consistent laughter proved this show hit every comedic beat. As I overheard one audience member exclaim upon leaving, "This is one of the best shows I've ever seen." I couldn't agree more.

Ava Cook
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