SKID ROW PLANTARIUM RUNS AMOK
Hysterical laughter accompanies this campy “horror” show now on stage at Carlsbad’s New Village Arts. The company has rightly developed a reputation for producing work that breaks down barriers and expands the reach of traditional community theatres under the artistic leadership of Kristianne Kurner. Here the theatre experiments with gender casting in their production of LITTLE SHOP OF HORRORS as directed by A J Knox. Even if the gender character assignments are outside traditional norms, audiences will
certainly respond to the otherworldly talent inhabiting this bedraggled flower shop on “Skid Row (Downtown)”.
This critic enjoyed the privilege of attending the debut, award-winning production at the Orpheum Theatre in the East Village (NYC) in the early Eighties. Yes, it elicits delicious memories of superb performances, surprising directorial touches and the reach of an extraordinary puppet even into the audience. But it also induces a sadness at the loss of the talented Howard Ashman (director, playwright, lyricist) to the scourge of AIDS. Composer Alan Menken has crafted fine scores with other musical partners, but even he would admit how deeply the loss has affected musical theatre both onstage and on the silver screen as well.
A peek in the window of that shop reveals a series of gender switches. First and foremost, Eboni Muse (“Audrey II”) embodies the blood-consuming plant, ever pleading for sustenance (“Feed Me”). This actress becomes a sort of stamen (perfect metaphor for the gender switch) at the core of the monstrous flower, free to roam in and out of the petals, and orchestrating the attendant “urchins” at will. She is a whirling dynamo of ferocity with decibel-splitting pipes who demands obeisance from all in her environment. Days after the viewing, I am still engaged in a battle within about whether or not this choice damages the original conceit, impacting the stuff of the play’s appeal. Conclusion? While I miss the booming, reverberating bass of the traditional Audrey II, Ms. Muse mightily impresses with her take on the role. Less thrilled I am, though, about the 
extent of the anthropomorphic changes in the puppetry.
Now on to the trio of “Urchins” that dart in and out of the action, initially conceived as a sort of girl group a la Ronettes (“Be My Baby”). Here, Natasha Baenisch (“Chiffon’) and Patricia Jewel (“Crystal”) remain unchanged, but Chris Bona assumes the mantle of the lead singer “Ronette” (now “Ronnie”). As a gender-altered character, Chris “kills” it ( as the young ‘uns would proclaim today). The trio blends well, contributing both with their acting and singing, undoubtedly making the Music Director, Benjamin Goniea, proud.
Also, in a third gender reversal, Melissa Fernandez (“Mushnik”) becomes the proprietor of the sad sack flower shop. This young lady is known throughout the area as a respected comedienne, and so serves as a perfectly legitimate candidate for this assignment. She doesn’t disappoint in this role, assuming a crusty, “no nonsense” approach. My personal preference, though, would be the more ethnic, long-suffering, curmudgeonly tack of the original gender for this character.
The central love angle of the story features two standouts as well. Sittichai Chaiyahat (“Seymour”) fully inhabits the nerdy clerk, giving resonance to a card-carrying, awkward wallflower afraid of his own shadow. His performance instigates the hubbub that accompanies Audrey II’s ascent in importance to the story. In addition, his singing chops 
are right on the mark. Meanwhile, his co-worker and the sweetheart of his dreams, Cashae Monya (“Audrey”), ideally captures the Brooklyn ingenue who is laden with band-aids as well as fear of her current, demented boyfriend. Her plaintive rendition of the desperately hopeful “Somewhere That’s Green” almost results in one forgetting the acclaimed, original Ellen Greene version. These two performers provide reason enough to plan your visit to Carlsbad some time before August 4.
And the final ingredient of this “camp” visit to Skid Row? Philip David Black (“Orin Scrivello”) plays the dentist, brutal misogynist and weird boyfriend of Audrey until he is not. There hasn’t been such a bizarro dentist in musical theatre since “Sandor” demonstrated his talents in BELLS ARE RINGING in the Fifties (btw I would love to see 
a local theatre take a crack at this gem). I digress…now back to Orin – the creepy tooth yanker who rides a motorcycle, tortures his clients and has a penchant for laughing gas. Mr. Black corrals the lunacy integral to this character just fine as well as excelling in the roles of other minor Joe Schmo’s that enter the loony bin at one time or another.
Boosting the LIVE theatre experience, of course, are the five musicians comprising the backstage orchestra who are conducted by Tony Houck. Yay, LIVE music!
All of this extreme tomfoolery is under the direction of the capable A J Knox, assisted by Milena (Sellers) Phillips, who marshals some creative juices from his team of helpers (special shout out to Amanda Quivey’s witty costume designs). Choreographer Kevin “Blax” Burroughs handles the dance elements successfully.
Whenever this critic visits New Village Arts (NVA), he finds himself in awe of the genial nature of the Front of House staff aided by a group of devoted volunteers (“Village
People”). Well done, folks!
It seems as if this Carlsbad theatre’s committed partisans have another hit on their hands in LITTLE SHOP OF HORRORS. Hilarious summer entertainment is just around the block, San Diego!
pc: Daren Scott
