SUPAS presents Little Shop of Horrors
- Butter Sideup
- Nov 27
- 3 min read
Stepping into the Drama Studio felt like arriving somewhere genuinely special. The maroon curtains, seating and traditional theatre structure created a luxurious sense of occasion. Nostalgia lingered in the space, yet it was undeniably fresh and modern, no doubt helped by the excited buzz of university students eagerly anticipating their friends’ performances. It reminded me fondly of my own university drama days and the shared passion that amateur dramatics can so wonderfully inspire.
From the very first note of the overture, expertly guided by Coby Brown as Musical Director and Charlie Harmer as Assistant Musical Director, I was instantly captured. The iconic score burst into life with a confident boom of brass from the outstanding band, setting the tone perfectly for one of the most thrilling openings in musical theatre.
As Crystal, Lola Jones immediately commanded attention. Her voice was both sultry and powerful, and she blended beautifully with Izzy Woolcott as Chiffon and Lucy Ellinor as Ronnette. Together, they were captivating, with harmonies delivered with spot on precision and subtle facial expressions that brought the moody street urchins to life. Their presence anchored the storytelling with an irresistible energy.
Tom Harvey crafted a magnificently nerdy and nervous Seymour. His portrayal struck just the right balance, making him pathetic enough to root for but with a believable potential for heroism beneath the surface. His vocals were superb, pushing into moments of controlled power without ever losing the quirky characterisation. It was a fresh take that never strayed into caricature, and the audience responded warmly.
As Audrey, Lucy Thickett was a delight. Her soft and sweet portrayal, paired with a crisp New England drawl, allowed her individuality to shine. Her vocals were clear and emotive, and Somewhere That’s Green revealed a hidden power within her performance. I might have preferred a slightly slower tempo, but it did nothing to diminish the heartfelt hopefulness she brought to the song. Suddenly Seymour was a tender highlight for both Lucy and Tom, showing true vocal and emotional chemistry.
Evan Donninger stormed the stage as Orin Scrivello. His booming voice and wicked laugh were perfectly pitched, creating a dentist we loved to hate. His rendition of Dentist! was a triumph, and his array of supporting characters afterwards demonstrated brilliant comic versatility. The gas mask briefly muffled his diction during Now, but his overall performance remained a standout.
Equally memorable was Harvey Albaddous as Mr Mushnik. With a gravelly tone, a spot on accent and impeccable timing, he brought infectious humour to every scene. Mushnik and Son, so often overlooked, became a comic gem of Act One. Harvey’s stage presence was superb and I would have gladly seen more of him in the ensemble moments. A special mention must go to the inspired choreography referencing Charli XCX, which landed perfectly with the audience.
The performance of the night unquestionably belonged to Alicia Adeleye as Audrey II. Choosing to anthropomorphise the plant rather than rely on a giant puppet was a stroke of genius. This creative decision allowed Alicia the space to unleash her soulful voice, commanding movement and fierce stage persona. Her Audrey II was powerful, terrifying and utterly mesmerising.
The production values matched the performances. Lucy Davies’ set beautifully captured the grim charm of the Skid Row florist in all its shabby detail. Orlaith Day as Director and Abby Lever as Choreographer used the stage impeccably, ensuring a pace that never sagged, even through the less iconic second act. Every moment felt motivated, energetic, and overflowing with theatricality.
Lighting and sound were another triumph. Aggie Bos and Phil Saxby led teams that delivered precise and imaginative cues which punctuated the comedy and heightened the drama without ever distracting from it.
As a long time fan of both the stage musical and the film, I found myself utterly transfixed. Each performer drew me into the narrative, and Audrey II’s growing power made me momentarily forget the macabre conclusion that the movie famously avoids.
SUPAS have produced something exceptional, rooted in creativity, teamwork and absolute joy. It was a privilege to attend, and I left smiling, humming and wishing I could see it again.
You can still catch Little Shop of Horrors until Saturday 29 November. Do not miss the chance to see this thrilling production.
Thank you for the invitation, SUPAS. It was a night to remember.
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