Little Shop of Horrors

Long-established Adelaide community theatre group Blackwood Players is getting its mojo back. The company had some heady early years through the 1950’s-90’s but more difficult times in later years, particularly from the mid 2,000’s. However its current very enjoyable production of Little Shop of Horrors is evidence of hard work and strategic thinking aimed at turning the group’s fortunes around.

While improvement in the sound facilities at Blackwood 21 is badly needed, it’s clear from this musical and from a successful previous production of Nunsense that Blackwood Players has a new formula for success: well-known musicals + good cast numbers + talent = word of mouth endorsement and bums on seats.

While one can usually expect strong audience numbers on opening night, I could not attend then for reasons outside my control. I went to a later production night. The auditorium was packed and jumping, an indication the new formula is working. Large audiences make a big difference to the atmosphere of any show, but particularly for big halls not specifically built for theatre, such as Blackwood 21.

Right now, this company is not afraid to take risks and in this case that risk was double-fold; a major musical and an untried director, Georgie Bannard. Blackwood has come up trumps with the gamble in both respects.

James Barbary is hugely endearing as gentle and sensitive flower shop assistant Seymour, while Karina Black is his perfect match as Audrey. Wearing head microphones, both actors produce fine and nuanced performances, marred only by the sound quality, which means their lyrics and sometimes dialogue are often unclear.

Ron Densley is fantastic as Audrey’s abusive partner and also in his other roles, the latter of which could perhaps use more in the way of hair/costume contrast from Densley’s main role.

Chris Overton is very good as Mr Mushnik and brings plenty of laughs, while Elle Nichelle, Tammy Shields and Lauren Bannard do well as local girls/backup singers Crystal, Chiffon and Ronnette.

Georgina Lumb provides good puppetry for Audrey 2 and director Georgie Bannard does a convincing and funny turn providing the monstrous plant’s voice. A good ensemble provides solid support.

Sound elements let down all the performers in this production. It is only marginally due to the volume of sound from the excellent musicians, led well by musical director Carol Hollis. Volume of music can sometimes effect even the best professional musicals, but put simply, for this show, the sound is just not correct in a technical sense. It is important Blackwood remediates this for future shows in order to ensure producing big musicals for the company’s comeback maintains momentum.

Long relying on virtually no set construction for its shows, Blackwood has come out firing with a very good movable set for this production, designed by the indefatigable backbone of the company, James Barbary.

Costume design is strong and the creation of Audrey 2 is very fine. Lighting is excellent in the lightning scene and serviceable in general. Lighting cues, especially immediately after blackouts for set and scene changes, need to be crisper.

Little Shop of Horrors is a welcome step up by Blackwood Players and should herald quality productions to come.

Lesley Reed